final air journal

Scripting the Future

Fabricating the Future

参数化 未来 Digital FUTURES

Design Studio Air

(R)Evolution of The Digital Age

“

We have crossed the rubicon

As a young urban design student exploring diffrent methods of design thinking and skill sets, this period of time offers the fantastic “ explorations”, opportunitities, and different ideals. Fundamentally, the (re)volution of the digital world has influenced our world similar to the epoch of the industrial revolution.

In 1854 George Boole developed an algebra that reflects logical thought (An Investigation of the Laws of Thought).

Computers follow this type of algebra and externalise precisely what we call logical thinking (Turing, 1936; von Neumann, 1945). Thus by using computers, we are able, as creative people, to explore this logical ‘think space’.

Multitudes of new images, geometries and artefacts become concrete constructions from a logical world.

From simple notions comes: procedures, , , objects, rules, constraints, agents, text, drawing, imagery, video, morphing, topology, grammar, cellular automata, parametric geometry, simulation, generation, evolutionary algorithms.

A new world awaits.

“

Hello! My name is Bond Chong. I come from Singapore and I am currently doing my 3rd year in Melbourne University, majoring in Urban Design.

I have a keen interest in digital software for design, especially in digital media as a visualization tool. Hope to meet you soon!

这是我会用的

这是我感兴趣的

*this is what I know

*this is what I am interested in

Adobe Suite Adobe Suite

Digital Architecture Digital Architecture

Rhino Rhino Grasshopper Grasshopper

Digital Architecture Digital Architecture Theory Theory Urban Design Urban Design

Processing Processing

Digital Media Interest Digital Media Interest

Hand Drawing Hand Drawing Skills Skills Photography Photography

wk/

01 Advancing the Architecture Discourse

wk/

wk/

Computational 02Architecture

03Parametric Design

(Generative Design)

wk/

wk/

wk/

04 Arguments for

05

06

Biomimetic Design/ Case wk/ Study 1.o

Cut Case study

2.0 (Reverse Engineering)

07 Cut Case study 2.0 (Refinement)

Expression of 08Interest

wk/

Cut Case study

2.0

09Design

wk/

(Advancement)

Development 1

10 Design

wk/

Development 2

11

wk/

Design Development 3

Design 12 Development 4

wk/

wk/ 01

This was a group project based in Shanghai, taken at the Architectural Association Summer School, Evolutionary Urbanism unit. This processing exercise named the combinatorial city looks at and visualizes the effects through a combination of inputs through attractors, transport lines, and agents on the typography and effect on density of the city.

It is based on Conway’s game of life or cellular automata, where cells with pre-determined simple rules would self-organize into complex combinations that were similar in ways to urban growth patterns.

What was different in our genrative model was the inclusion of a agent based system in this case, city inhabitants and the ability to embed meaning intoSingle thePattern: typography of the cell through patterns,instead of the Single Pattern: normal black and white of cellular automata.

Low Density The patterns chosen was a reference to Cerda’s model Low Density Medium Density in the Eixample district in Barcelona. Although it was not meant to be definitive and could be interchangeable Medium Density High Density with different typologies.

High Density The model simple rules are seen below. massing ( colored part ) massing ( colored part ) open space open space

Combination of pattern: Combination of pattern:

Ce

1.

Combinatorial City

First, the agents would desire to stationary and moving attractor points. Once a cell detected a certain amount of agents, it would activate.

2.

3.

Rule 1_when distance of n to tile is less than n, tile would calculate its will transform to one of four random tile types.

Once activated, it value of 1 to 3, an arbitary value for density.If it detected it was a value of 3 (high density), it would activate one of the surrounding cells and so forth.

Extrusions were based on the amount of agents (adjustable) in a radius (adjustable) multiplied by a

Rule 3_ when X amount of agents are in a predetermined radius, it would be extruded by X

Extrusions

I believe that larger the project, the more pronounced is generative’s superiorior capacity to articulate programatic complexity.

This could be a tool to compare realities of an current state and a model of different parameters of inputs such as maximum height ceilings or increasing agents.

As seen in the right through the changes of parameters. An discourse of the effects on the urban fabric through different influences can useful in the continuing improvements of urban futures.

Kartal Pendick Master Plan Patrick Schumacher A new global style for Architecture and Urban Design?

Parametricism has its roots in the digital animation techniques of the mid-1990s, with the advent of increasingly advanced parametric design systems. Prominent theorist and partner of firm Zaha Hadid, Patrick Schumacher, argues for it as the ‘ dominant single style of avant-garde practice today’(digital cities, pp. 14). He further describes it as having succeeding Modernism as the next extended wave of systematic innovation as compared to the short-lived styles of Postmodernism, Minimalism, and Deconstructionism .This has sparked of global contention as to whether practices today are can indeed be considered a style.

While the tools of parametric modeling have been largely unexplored in the profession of planning itself, there have been several attempts recently to take the ideas of parametric design in architecture and apply them to design at the scale of a city. This includes the work of Zaha Hadid Architects in their recent proposals for Istanbul and Singapore and also the work of several studios in the Design Research Laboratory at the Architectural Association in London . Several of these projects were recently published in an issue of Architectural Design titled “Digital Cities”, which addresses the possibilities of utilizing digital design at the scale of the city.

Why I like it?

I see the interdisciplinary benefits of these models in the development of urban design because these complex models allow for design based on the relationships of interaction between

agents and their environment within a complex ecology. On one level, the city itself can be conceptualized as an emergent model, where the individual decisions and desires of many inhabitants affect the physical fabric of the city. This is possible as the mass dissemination of data in our society has increasingly become the basis for how we understand and act upon the city. As both the complexity and speed of the data available escalates over time, developing city models that can process and change in time in line with tools such as swarm intelligence and genetic algorithms influencing city models could add to the discourse of understanding complexity and relationship. .

Criticism While these projects are conceptually interesting and offer a good starting point for analyzing the application of parametrics at a larger scale, it seems models as such only replicate the stylistic qualities of what parametricism in relation to architecture. Cities are not the products of their buildings or architectural forms, but the products of policies and decisions, made by many actors operating in a complex organizational structure encompassing not only professionals but city government and the public as a whole. For this reason, I see any application of parametric tools to planning must begin not from the basis of aesthetics or form, but with the laws and decisions that shape a city, areas in which planners are already acting.

Other criticism of parametric modeling for cities, with prominent critic, programmer, and philosopher Manuel DeLanda author of his books, in his most acclaimed book of A Thousand Years of Non-Linear History.

He argues that a model would be devoid any notion of aesthetics (Leach, pp.20-24) and ‘ treating the city as a mineralizstion of the human exoskeleton’; the level of resolution of agents, will they be parts of individual, communities; and also the need to differentiate different scales and types of simulation

Guggenheim Museum Frank Gehry

Pushing the boundaries of Fabrication

The architecture of Similar to the Sydney Opera house by Jorn Utzon. The complex seashell like forms of the building could not be calculated and constructed by traditional means. Prior to the Guggenheim Museum, other projects such as Frank Gehry’s Fish sculture for the Villa Oympica complex in Barcelona was designed the sculpture by working directly with paper models and taking measures from such models and creating conventional plans for the deveolpment of the project, complexity of design and the limited time available to develop and construct the project made such processes impossible. Similarly the landmark in the history of the digital architecture, the Guggenheim emplyed CATIA (Kolarevic,2003)., a aeonautic industry software and its possibilities in construction.

Why I like it?

I like it for furthering the discourse in fabrication. While ship and airplane building engineers have already developed a completly digital workflow that

made little use of traditional drawings (plan, sections) and relied on 3-dimensial digital models and CNC macihines for prototyping (Kolarevic,2003).. This project’s interdisciplinary use of this digital technology in fabrication and construction is not the first but a forerunner in projects of this magnitude.

So much that its success being coined the ‘ Guggenheim Effect’ in stimulating a locality through with a symbolic landmark.

Being critical.

Following this assumption, it is possible in theory to design and construct a building following a digiital workflow that allows construction with high degrees of complexities at a relatively small cost. While this in theory sounds promising, it might not be perfected yet, as seen in criticism in the leaking structure. Other limitations also include inflexibility due to its complex geometry, every sheet that was clad onto the surface had a specific curve, size and shape, thus does not allow for changes to be made on site. Construction would have to follow closely to instructions given to ensure any problems.

Other criticism include of a lack of context such as by also of various construction faults (Washington Times, 2010). Moreover other criticism of context is also argued by some such as architectural critic Hal Foster (2001) comparing it as becoming brand equity, which it sells on to corporations and governments.

The fabrication techniques here and the freedom from Euclidean geometries/ Planar surfaces is promising in our Wyndham Project.

wk/

02

“

architectects draw what they can build and build what they can draw” -James Mitchell

Blobwall Pavilion Greg Lynn

Blobwall Pavilion

The Blobwall Pavilion is a contemporary wall system that recovers the voluptuous shapes, chiaroscuro and grotto-like textures of Baroque and Renaissance architecture in pixilated gradients of vivid color.

Greg Lynn known for being the first few architects to utilize animation software as a medium of form generation (Kalay, 2004). This has now been very common, today many architects no longer use hand methods to explore form or even design due to these readily available computational tools that allow for such means. One can easily manipulate shapes and create new ones with the use of computational tools. Furthermore it can achieve a more accurate form or shape. One of Lynn’s most famous projects would be the Blob Wall.

Why I like it?

I like it for it rethinking the conventional bricks, which Lynn was looking into

exploring new shapes and geometries that allow for a wall to be built by simple connections as well. As it can be seen in the photos, Lynn was able to achieve such fluid and smooth blobs with the use of animation software tools, something not easily achieved by hand. Additionally, being able to calculate how one blob fits perfectly with another was also achievable with such digital design soft wares.

Although

The blob bricks are completely hollow, and therefore can’t be used to support weight from above, perhaps reflecting the modernist’s ambivalence toward classic brick as a load-bearing material. While I am suspicious of what larger structural form can be created other that the size that it is in currently, of a room. Perhaps if they could function like superadobe

houses by Iranian-born architect Hader Khalil. It would be more useful for our project as we have a need to be visible from a distance thus probably needing to be a certain size.

It can be seen that computational tools will definitely enhance a project and thus I would like to make use of the advantages of technologies for the Wyndham gateway

Carpal Skin Neri Oxman

Form and design generation tool .

Carpal Skin is a prototype for a protective glove to protect against Carpal Tunnel Syndrome, a medical condition in which the median nerve is compressed at the wrist, leading to numbness, muscle atrophy, and weakness in the hand. Carpal Skin is a process by which to map the pain-profile of a particular patient—its intensity and duration—and to distribute hard and soft materials to fit the patient’s anatomical and physiological requirements, limiting movement in a customized fashion. The form-generation process is inspired by animal coating patterns in the control of stiffness variation. ( Oxman, 2012) Why I like it? .

This example show the possibility and shift in generative designs whereby the control of designers traditional control and tradition, with form not being designed by the designer but rather by the chosen computational generative method and logic, in this case based on the pain profile.

On the other hand.

While the form of the stiffness variations and patterns are produced, can we be ever truly make the shift of making of form to finding of form? We will still need the both top-down and bottom-up approach to designing.

Arguments

Computational Architecture

Potential 1. Handling complexity

As seen in the Kartell Pendek computer model, computation is in theory able to handle large amount of data and also output complex geometries. The shift of using Euclidean geometries and planar surfaces to complex form have been further simplified by using NURBS and spline lines 2. Time Saver

With the integration of CAD and BIM, analogous drawing convention are now able to be cut down manual drawing times.

3. Documentation Process/ Collaborative Tool

Even to the extent of being worked on across companies as files are being transferred over country borders to be worked on around the globe and around the clock. The ability of a fixed medium based on standardized software such as .dwg allows for construction firms to understand crossmedium drawings.

wk/

03

“

“The designer who wants to be completely in control of the results must be in control of the process. To be in control of the process, the designer must be in control of the tools. The tools are computation; therefore a designer who wants to be in control must also be a scripter (or suffer the consequence of the unseen influence of using other people’s tools).”

- Robert Aish (Burry2011, p.67)

ICD | ITKE Research Pavilion ICD / ITKE University of Stuttgart

Form and design generation tool .

Computational processes made it possible to effectively extend the recognised bionic principles and related performance to a range of different geometries, allowing the final structure to be constrained within the limitations of the material chosen as part of the design intent (extremely thin sheets of plywood).

Why I like it?

In this case, scripting automates the routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time. Additionally, it was able to take into account the limitations of materials, effectively controlling the use of materials and using it as one of the drivers of the design. There is a danger in scripting being used as a cloning tool with little originality, especially when it is used in a generative design approach using generic algorithms. This project, however, avoids this completely – the highly specific requirements of the project meant that customised scripts have to be written for it. scripting systems were being made, not appropriated; it was used as a tool that adds value to the

n design product and process. The writing of the scripts were done by teachers and students who have learnt scripting specifically for architecture – the designer is controlling the design and expanding the possibilities of design though the help of scripts; it is not a scripted outcome that forces the design into a particular route. As the Gateway project will be developed using provided CUT definitions, it is imperative that Grasshopper does not just become a cloning tool. Instead, it should be used as a timesaver, utilising various combinations of relevant premade definitions as a basis to allow for efforts to be focused on the development of the design, where design concepts and required modifications can be applied to create a project that is original.

The plates and finger joints of each cell in the pavilion were cut with the use of the university’s robotic fabrication system. Custom programmed routines were employed, using the computational model to provide the basis for the automatic generation of the machine code that controls the industrial seven-axis robot, thus enabling the production of more than 850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space. Without this file-to-factory production method it would not be viable to manufacture the pavilion; this technology liberates designers, reducing the restriction that the manufacturing process has on the design – this is also true for the Gateway project.

EXOtique Projectione

Towards a more integrated workflow.

Designed by Projectione in Muncie Indiana, EXOtique was a design project for a ceiling piece with a 5 day time frame and a $500 budget for materials. aiming towards exploration of digital fabrication with the use of Rhino and Grasshopper.

This project is one example that shows how fast and efficient the use of computation design tools are. They allow an installation as such to be completed in a short time frame as it allows “design through fabrication process to be drastically condensed”. Similar to Greg lynn, the project was not aiming to utilize Rhino and Grasshopper to design something representational, rather the main focus was the exploration of fabrication methods. Along the side lines, they were also exploring forms, shapes and patterning.

Why I like it?

This project is one example that shows how fast and efficient the use of computation design tools are. They allow an installation as such to be completed in a short time frame as it allows “design through fabrication process to be drastically condensed”. The project was not aimed to utilize Rhino and Grasshopper to design something representational, rather the main focus

“

Upon the invitation of The Institute for Digital Fabrication workshop/installation with student help, following three main constraints: *Timeline- 5 Days: *Budget- $500 materials budget: (white acrylic, white polystyrene, and 55 cord sockets and bulbs. *Site- Ceiling above the foyer at the west entrance of the architecture building.

was the exploration of fabrication methods. Along the side lines, they were also exploring forms, shapes and patterning.

In Rhino, they were then able to unroll the design then fabricating it piece by piece. This enables each individual hexagon to be cut perfectly and pieced together in a very quick and simple manner, thus almost zero mistakes are made. Additionally, there was no need for additional support for the design because components met evenly creating a rigid shell, this then saves cost for support and excess materials required due to mistakes.

Therefore, our design for the Wyndham City Gateway project seeks to harness the innovative and inspiring qualities that digital design techniques contribute to projects as such. With all the benefits of computational tools, it will be useful for the gateway

Arguments Parametric Design

Potential 1. Design Feedback Loop

As Argued by Kalay (2004) in her method for searching for a design solution, the single most important difference between computation and computerization is the reiterative process. The Gateway project can advance itself through creating new, inspiring and iconic project using Parametric technologies as a feedback loop in the design process.

2. Time Saver

With the ease of file sharing and obtaining definitions that reproduce design features, this feature should not be exploited as a cloning tool and only be used as a time-saver. Various combinations of relevant premade definitions are used as a basis to allow for efforts to be focused on the development of the design. Where design concepts and required modifications can be applied to create a project that is original.

3. Efficiency in Fabrication/ Prototyping Process

With the integration Parametric software; which gives greater control for the designer in processing menial and repetitive tasks, and Computer Aided Manufacturing; which uses computers to fabricate precise and bountiful amounts of units such as seen in both ICD pavilion and EXOtique.

Gives us an extreme amount of efficiency in the Design to Construction process benefitting the clients of Wydnham City and the industry as a whole.

Caution 1. High- Tech Ornamentation?

The architectural field’s current use of the parametrichas been argued to be ‘superficial and skin-deep’, as argued by Architectural Critic Michael Meridith ...lacking of a larger framework of referents, narratives, history, and forces.......To the extent the profession has utilized parametrics today, there is very little instigating complexity other than a mind-numbing image of complexity, falling far short of its rich potential to correlate multivalent processes or typological transformations, parallel meanings, complex functional requirements, site-specificnproblems or collaborative networks.”

In the same vein of Adolf Loos, Parametricism needs to be recognised as a powerful tool but needs to take the critical leap of a deeper imbued meaning.

2.Cloning Tool

With the ease of file sharing and obtaining definitions that reproduce design features, this feature should not be exploited as a cloning tool. As seen in the recent voronoi-philia that I have observed.

FORM DEVELOPMENT-

Here we experimented with the development of our Voronoi pattern and how we could apply it to a form to act as a sculpture and hold our concept of Rural to Urban.

GRASSHOPPER

Experimentation 1. We applied our Voronoi pattern directly onto this form, The patterns developed from this were extruded to give this framed shape. But in physically structural terms this design was not feasible as the shapes would not be able to be held up.

Tokyo Airspace

Student Work

Student Work Experimentation 2. We looked at a 3D voronoi form one which is bound between a rigid structure a stretched according to the Voronoi shapes. This form was effective in developing a mesh of 3 Dimensional shapes. However the bounding box limited the effectiveness of this design and was not effective for sculptural purposes

Student Work

wk/

04

“

Why re-invent the wheel?

Biomimetic Architecture is a very broad term, in our context, we refer to it in the automated parameter-based generation of architectural elements responsive to local particulars.

My insight into parametric design package has not changed much in the way that Paramatric tools such as grasshopper only serve as a tool to achieve our goals, core ideological roots need to be in intertwined with purpose or risk being labelled hightech ornamentation.

Voussoir Cloud IwamotoScott

Biomimetic Architecture

The particular designs we were interested at was how an object can respond at a cellular level to conditions as environment, gravity and structure. Protocells are analogously given

by Iwamot Scott architects as chemical and solid state agents that respond in a biological manner – typically exist at nano and molecular scales, and are often generated in liquid.

Protocells are used here as a selforganising structural matrix. Historically, architects have employed geometrically defined elements such as vaults, domes, thin shells, tensile membranes and cable nets to unite surface structure with material. In contrast to typologies based on uniform, symmetrical form, contemporary analysis and design techniques can adapt material systems to address variable, localised and non-symmetrical loading conditions. This has opened up the possibilities for at once synthesising geometry, structure and material performance. IwamotoScott’s previous work examined how to produce such

“

Lisa Iwamoto of IwamotoScott Architecture describes how the Line

Array project was developed as a means of proposing a new range of structural surface formations in which protocells could be applied to architecture. She specifically speculates on how materials might behave morphologically, responding in a fluid manner to varying surface geometries.

synthetic results from intentionally contradictory criteria. Voussoir Cloud (2008) inverted the conventional material definition of compressive vault construction.

Similar to the reactionary trabeculae bone that changes under structural stress. It succeeds in being forward looking at the forefront of material and cellular structure, structurally simple although thoughfully rigourous through its formulation and implementation. Aesthethically elegant while functional and purposeful, not solely in the realm of ornamentation.

This is useful as a precedent in regards to our cause, in it being also exuding a entrance likeexperience, and also having less on-site assembly time being a modular assembly system.

Yorkshire Renaissance Pavill Various Architects (Reverse Engineering)

Various Architects’ project “Yorkshire Diamond” was a finalist in the open international competition for a mobile pavilion for Yorkshire Forward. The diamond-like grid volume is mined out to form a grotto-like interior space reminiscent of the coal mines of Yorkshire.

The Architect (various architects) argues for : •Stability, The project’s attraction is its exterior in the form of inflatable tubes arranged in the atomic structure, creating a stable 3D superstructure enclosing the project. This is weighted down with the two shipping containers the project is transported in, and additional water filled weights to limit the need to transport heavy ballast or foundations.

•Flexibility, The pavilion multiple configurations which allow it to be used for everything from small gatherings to large conferences or public presentations. The pavilion can also be turned ‘inside out’ to open up a large covered area to open outdoor spaces to create the ultimate mobile venue for concerts or big-screen events.

•Sustainability, Features that can generate energy during transport and while installed, together with lightweight recyclable materials will demonstrate Yorkshire Forward’s commitment to the environment wherever the pavilion is situated. With its inflatable structural skin, the Yorkshire Diamond is as lightweight as possible to reduce travel weight and packing volume, which in turn reduces the carbon footprint for transport of the pavilion. The project also features innovative uses of natural light, natural ventilation, and recyclable materials. The inflatable skin is also 100% recyclable using the Texyloop process.

lion

I appreciate its use of naturally occurring atomic lattice is useful in enhancing optimization of a free standing structure and utilizing the potentials of parametric methods with temporary and relocatable architecture. The inflatable tubes makes building more adaptable and flexible for local use (easy to fabricate, remove and repair), while combining form and structure into one , briefly touching on whether shifting the paradigm of whether form follows function.

While I argue that despite what the Architect says for flexibility is true, it ignores the context of where it will be placed. I questions as how the form of the structure is made and my personal feeling of banality in the constructed space. Also how flexible is the pavilion in being able to adapt to different spaces with different needs such as the farmland that renders of it is in, how can the structure adapt to different activities? Although this is understandable as it is a temporary structure, for a localized competition.

I also question the sustainability of sustained usage and maintenance in inflatable structures, the maintenance of the turbines needed can added to environmental burden in the form electricity usage. The structure is useful but I am suspicious of the pavilion being a sustainable construct.

In regards to useful to our future project, the way it stands can be useful, but perhaps the way that it is generated and the context should be further interrogated.

Less is Morph Grasshopper Reinterations

(Case Study 1.0 + Parameter Diagrams) 1. Recipe (original)

1. Choose a surface, image, pattern.

2. Divide the surface to points and sample the image,

3. Give each point a value according to its intensity of colour.

3. Decide on range of value 2. Recipe (Tiling)

1. Repeat steps 1. and 2 (original).

2. Take the set of points, construct a bisector between one point and others within a set radius

3. The voronoi cell is bounded by the intersection of 3. Recipe (Subdividing)

1. Repeat steps 1. to 4. (Tiling).

2. Offset cells.

3. Create curves within the polygon control points

4.Recipe (Panelling)

1. Repeat steps 1. to 4.

(Subdividing).

2. Extrude curves of polygon control points

3. Extrude original voronoi cell curves

4. Cap curves.

Arguments Biomimetic Architecture 1. Local Particulars Considered

Similar to how a organism respond to their environments. Our design can respond in site, shade, wind orientation.

2. Input Oriented Design

1. Method that this can be done is through the materiality and structality of the piece, through 3. Performance based Outputs

1. Materiality and structural inputs to change the final output morphologically.

Limitations 1. Local Particulars Considered?

1. Relating it to Cultural/ Social/factors, needing more rigour.

wk/

05-07

“

Much like other design methods, the use of prototypes, precedents, and metaphors is intended to provide the designer with a starting point from which to develop the new design”

-Kalay According to Kalay, “Search processes involve two steps: (1) producing candidate solutions for consideration, and (2) choosing the “right” solution for further consideration and development.” with this in mind, our group members undertook the task of reverse engineering case studies.

Diamond Cubic Structure Reverse Engineering (Case Study 2.0, grasshopper definition) d. e.

a. b.

c.

1. Recipe

1.Create a triangular grid.

2. Connect the base points of the grid

topointD (bisector of the apex of the

tetrahedron created from the base points and the centroid of the base points).

3. Connect point D to the apex 2. Recipe

1. Pipe lines

2. Cull adjacent grids.

2.

1.

3. Recipe

1. Copy grid layer 1 and position layer 2 (X value: bisector of point 1-2, Y: bisector of

horzontal distance of point 1-3, Z: distance of base to apex) to connect to layer.

4.

4.Recipe

3.

1. Copy layers 1 and 2 position it above the first two layers.

2.Culling the alternate grid of layer 3 and4.

2.

1.

Reflections Reverse engineering process Limitations

1. From this week’s experiment, we can see that the joint between the modules are not connected properly.

2. Vertically the layers can only be increased by 4 layers.

3. The grotto effect was still not resolved, as Advancement

1. Perhaps if we can find a way to reference the diamond modules and morph them we can find ways to create something more interesting.

2. Also culling the modules according to

Argument Expression of Interest The piece as Sign: As put forth by Williams (2005) of relative meaning to its context, the piece could be interpreted as what we have distilled from what Wyndham wants to be. A place of discovery for locals and visitors, a place for exploration (Wyndham City).

Grottoes have been traditionally been a symbol of power, extension of earthly paradise, and metamorphosis. (Watt, pp. 49).

The notion of the grotto as subtractive space can also be harnessed not just for their symbolic / representational / aesthetic qualities but also to advance the functionality of ‘space’.

Our design for the Wyndham City Gate project seeks to harness the innovative and inspiring qualities that digital design techniques contribute to a structure creating an eye catching piece that engages with motorists as they pass by Wyndham City on the freeway.

The grotto is an artificial structure or excavation in a

garden made to resemble a cave. It is always elaborately, absurdly fake. Against the backdrop of theathicality. The grotto found its heyday in eighteenth-century English gardens, providing a dark narrative to the landscape gardener’s palette. This proposal for a highway art piece takes advantage of the grotto’s essential features, there is always something to discover within.

The earliest grottoes were in fact caves: religious sanctuaries, usually containinga spring,which were used for mystica rites and initiation ceremonies. The idea of the grotto as a retreat, a sanctuary separate from the everyday world. While it changed in French Renaissance gardens, where the grotto contrasted with the superbly rational world around it. In its darkness the grotto suggests the possibility of change and exploration, a passage from one state to another (Miller 1982, pp. 24).

Matrix

Investigations Directions 1. Grid System

1.By using a Grid system, the interlinking modules of our argument could be rapidly fabricated and assembled, this also allowed for a systematic locational coordinates of where to put boxes.

2. Modular boxes

1. Using Modular boxes, this meant that the different forms could be created. Although

depending on the scale and the amount of boxes we want, affected the resolution of the product.

3. Cull

1 By using different methods of taking away from the grid, we can start carving out

Subtractive space to fit programs and perhaps the effects we wanted.

2. The ability to document 4.Layers

1. By using the different layers, we can ...

form a cavernous construct as per

our argument.

Distractions 1. Morph

1.While we were getting fantastic structures with the component Morph, this was not a direction we wanted to pursue as this could mean a 3d printed model , which would not be

able to show the tectonics of the model.

2.Unlinked-components

1. Some reiterations have no visible way of being linked to one another, these would be problematic at the fabrication stage.

3. Cull

1.Again the method of how it was culled need to be looked at or the model would not have

embedded meaning.

Fabrication Issues

1. Components By using the facilities of the Fablab, we were able in theory to cut out the menial and repetitive task of fabrication. In reality, we still had to put the 400 over components together.

Perhaps a better way of using technology for fabricating the cubics could be implemented.

2. Ill-fitting Components 1. Fortunately, a cut model was done to trial out the various components as the initial set had pieces that were obstructing each other.

After extraction from the original plywood sheet, the thickness of the components 3. Working together

1 Working it groups,makes the workload lighter and time go faster.

4.Photography

1. A good photography setup made a big difference in regards to presentation.

Fabrication

Rich fabrication possibilities

Available joints inside each cubic:

Joints coheren with

Rich fabrication possibilities

Joints coherence between the cubic A with different size A A Joints coherence between the cubi A

Instructions

Rich fabrication possibilities

A

inside each cubic: 4 Available joints atjoints corner:

with different size

A

A

A

A

A

A A

4 joints at corner:

Between Cubics B A

B B A

B 4 joints on surface:

A

B A

B A

A

4 joints on surface:

B

B

AA

A

B

B

A B

A

A B

(Chosen one in our EOI)

(Chosen one in our EOI)

Diverse Joints types:

Diverse Joints types:

(Chosen one in our EOI)

Inter-fillable Cubics

EOI

Model Definition

Tertiary set of attractor, lines for circulation

Merging different attractor points

Seconday set of attractor points, (for medium geometry replacement) Primary set of attractor points Primary set of attractor points Primary set of attractor points

Base geometry

Reference base gemotry onto planner surface, interval and height are maintained at same

Cull referenced according to di between base attractors

Output: replace some part of culling space with large size base geometry

d Brep istance geometry and

Output: replace some part of culling space with medium size base geometry

Output

Model

Different views

The model gave a sense of the grotto, although the effect and intensity was not what I was looking for in the model. How many other ways can be reiterate the grotto model?

Different angles give different levels of porosity and thus different angles for the viewer.

Reflections

Comments from the panel Panel

1. Materials?

1. Materials While still in a concept stage, we thought of

what is the material? How does it relate to

your idea?

2. Grotto?

The Grotto is a power idea, look at your image again, look at the origin of the grotto and how it play with the Romantic landscape and English romanticism. How can this help you define specific parameter that you can implement directly on the site?

How do you ‘cull’ on site?

3. Other things to offer?

What else does your structure offers? Does it have an ecological function as well? How does the material and construction address this?

various materials whilst not deeply, maybe haveing materials such which were friendly to the local fauna and abundant wildlife, which we saw when we were at the site, would be interesting.

2. Grotto After much exploration, I felt that square cubic were too angular and we felt that the also could not fully achieve a proper view, allowing one to see through. A more rigourous interogation of the concept needed to be done.

So far the method of culling were according to attractor points of the highway and also to views on site. Although with a actual site visit, it was discovered that the views could of the some of the places we directed to were not viewable, all we could see was the landscape. The methods of defining what to subtract needed to be reworked.

3. Other things to offer While still figuring out the structure and form of how our ‘grotto’ will stand, perhaps it was to overwhelming as a design concept, other things which we were reminded of was to look at what other functions we could incorporate other than the grotto and other users such as the local fauna or risk being labelled a one trick pony. We needed something else.

Us 3. Experience so far I feel that parametric design requires a certain amount of familiarity or experience to use properly or else the frustration of continually stopping and trouble-shooting your definition would build up.

It is a powerful tool and without the grasshopper forums, the experience would be even more broken up.

Although it could benefit from sometype of feedback loop to create even more intelligent design. Perhaps scripting could be an elective to those who are interested?

Me

DESIGN DEVELOPMENT From the EOI submission, our prototype has evolved into something completely different. With the same ideals and approach a more complex form was sought after.

Retaining the precedent of lattice structure within the design was based on research pertaining structural form within natural occurrences. Hexagonal patterns emerge within structural systems in nature, being a very stable form. This became a reference point for extending the

Concept Development

Module Exploration Methodology Research

Chris Bosse of Laboratory for Visionary Architecture [LAVA] has created a window installation for the famous Italian department store la Rinascente for its Contemporary Christmas Art windows. LAVA’s window installation is an origami coral reef using 1500 recycled and recyclable cardboard molecules that explores the intelligence of natural and architectural systems.

Digital Orgami (LAVA)

Ecosystems such as coral reefs act as a metaphor for an architecture where the individual components interact in symbiosis to create an environment. Although having not been to the christmas window and explored the rules regarding its generation, what appealed it to me was its small unit affecting the overall system applied to the space-filling installation.

Reflections

Following the criteria was of importance and this impacted the design process. The truncated octahedron's ability to pack solids in to confined spaces and the ability to create any bounding shape to which these solids are bounded within was of interest. The idea of being to connect diagonally also was a welcomed attribute.

Limitations

Despite discovery a way in which to agglomerate these forms, It was too uniform and the complexity of these structures became less appealing.

However it was uniform and did not possess complexity in the arrangement of its form. This urged for a more in depth resolution in how the arrangement and components can become more complex and portray a narrative. This would essentially answer the brief as a representation of the systems and promotion of Wyndham City as a multilayerd dynamic municipality. The current proposal already embodies complexity, its agglomeration answers individual criteria of interdependent components. Its materiality would add further to the complex, intricate attributes that will satisfy the individual criteria.

Module Exploration Methodology Research In another experimentation using the automatic generative properties of cellular automata of the plug-in rabbit. There was an interest in our group to use the feed-back rule based system of generating this.

The Game of Life, also known simply as Life, is a devised by the British mathematician John Horton Conway in 1970.

Where the rules, The universe of the Game of Life is an infinite two-dimensional orthogonal grid of square cells, each of which is in one of two possible states, alive or dead.

Every cell interacts with its eight neighbours, which are the cells that are horizontally, vertically, or diagonally adjacent.

At each step in time, the following transitions occur: 1.

Any live cell with fewer than two live neighbours dies, as if caused by under-population.

2.

Any live cell with two or three live neighbours lives on to the next generation.

3.

Any live cell with more than three live neighbours dies, as if by overcrowding.

4.

Any dead cell with exactly three live neighbours becomes a live cell, as if by reproduction.

Conway’s game of life

Reflections

The game is a zero player state, which meant that its evolution is determined by its initial state, requiring no further input. It was advantages for us as this allow for simplistic changes in rules to change the form generated, Rabbit also allowed the generation in the z-axis, creating unpredictable structures.

One interacts with the Game of Life by creating an initial configuration and observing how it evolves.

Limitations

Although its unpredictability is its boon and its bane, as we had difficulty controlling the growth, this was possible in setting an inside component to restrain this growth in a boundary, which defeated the purpose in its unpredicatability. Perhaps if there was time, we could generate many more iterations matrix. Other problems included its limitation in its arbitatry cardinal direction of north,south,east,west and also above and below the cube.

Module Exploration Methodology Research

In the third reiteration in the search for a different method in modularity, we took a page out of Aranda and Lasch grotto project. In essence, they wanted find module ‘boulders’ that defied the conventional sense of order, something modular that did not look modular. They claimed that the seemingly complex project used danzer tiling, which consisted of only four unittypes, which fit together in a varity of ways, resulting in a wildly ordered three dimensional pattern that never repeats the same way twice.

Grotto (Aranda Lasch)

Reflections

The replication did not go out to plan and was largely a failure, something that I would have thought to be over our heads in complexity in the time given. In the end, the closest we made it to be was of a vorornoi, which we wanted to avoid as there was an abundance of such projects.

Also it detracted from our first concept of modularity in a structure that was able to be constructed easily in our .Although it was interesting and easy to conceptualize in turning a complex point-cloud into vertices.

Methodology Matrix +ve

-ve

• Diagonal Connections • Complexity in fabrication

• Complexity in tectonics fabrication

• Easy Generation

• Common use

• Automatic Generation

• Lack of Control in form

• Porosity

• Heavy on computer generation • Connection limited to Euclidean plane • Lack of Change

1.Truncated Octahedrons

2.Voronois

3.Cellular Automata

Module Chosen

3.Tetrahedral Lattice Definition: plugs in order; geometry gym, n.a. , rabbit 0.3, n.a.

Module Matrix

Site Context

Site

C

WYNDHAM CITY

WESTERN EXCHANGE,

GEELONG PORT PHILLIP BAY

CITY OF MELBOURNE

, PRINCESS HWY

Place of Discovery The installation will materialize and capture the evolving identity of Wyndham City. Its purpose is to reveal a relatable identity for the people and the municipality giving its own distinct code and pattern in a 3 dimensional form through 2 dimensional structural constructable structures.

Materiality becomes a media for exploring and decoding the intricacy of Wyndham’s systems. It will generate a unique experience that can be seen from passing vehicles or through a everchanging interface, extending Wyndham’s identity beyond its rural scales. The form which is generated by a rule based algorithm, organize a shell structure informed contextually, that will become the prominent form in representing the systems comprised within Wyndham’s network.

Mini You-Yang: Being a relative topographically flat landscape , one of the characteristics and focal points of the Wyndham.

Significance

Contextualising Creating a artificial You-yang

From the initial critiscism of parametricism, there was a similar chord struck that was similar to the Modernist failure of placenessness. Thus the concept of the you-yang was explored, it was suitable something that is borne out of the land, representive of the natural aspectsthat Wyndham embraces. It is also an exception to the otherwise flat topography of the land, a natural focal point that fit with our context of showing

Learnings

Next, it was up to us to form this artificical lanscape using the tools that were available to us. It was not always smooth, but it was definately though provoking and some surprises along the way.

The articficial landscape that informed the shape of our shell-structure was based on lofting the contours of the existing ‘Mini-You-yang’, and then scaling it (Appendix A). For reasons unknown, it was easier and faster to loft in rhino because the amount of control points could be adjusted leading to a model that was easier to work with.

From experimentation, it was interesting to see that various unexpected irregularities in generation added and also subtracted from the design process.

Circulation

Figure 1. View Cone Placement

Definition: referenced circulation path + pipe + solid intersection

Automobile Circulation Contextualising Pragmatic Concerns

One of the most basic concerns in the site was allowing for automobiles circulation on the high-way. This was simple by subtracting a tunnel to allow for different vehicles of different heights.

Learnings

This was done simply by referencing the curves of the high-way and using the pipe component (Appendix B). Various considerations included the higher height clearance for the various high tonnage vehicles such as lorries that bring supplies from Melbourne to greater Melbourne and vice versa. By setting a radius of 7 meters from the road, allowing higher vehicles to pass. We also did not want the openings to be too big as that would detract from the characteristic of enclosure for the grotto

Next various views that we wanted to expose and frame will be shown will be based on the next diagram.

200m

View Analysis

You Yangs

You Yangs

Driver’s vison field (40˚)

Gournd level visual barrier

Enclosed ‘grotto’ space

Top opening

200m

Serial Visual Experience

Automobile Serial Vision

Contextualising Discovery of the You-yang/Plains

Thus not only do we want to create an artificial Youyang, we wanted to frame the actual You-yangs to the west and the natural vistas of the plains to the East. This was done through the various cones referenced to the automobile circulation opening up portals. There was a purpose in delibrately opening up the path for more light upon arriving from

Advancement/ Learnings

This was done by dividing up the curves, according to calculation, the distance for a object moving at a speed 100km/ hr, its distance is 27,777mm. Varying the division of the curve, we could get the distance points such that distance between points are approximately 27,000 mm. Then by referencing the various cones onto the points, theoretically that would give us a frame per second and by varying the width of the cone angle we could control the amount of view per second to the view

Figure 1. View Cone Placement

Definition: referenced circulation path + divide curve + reference cones + rotation 200m

Figure 1. Chosen Views

Definition: reference divided curve point + list items

200m

Oculus Openings

Oculus Placement

Contextualising the design Illuminating the You-Yang

For a more varied change in experience and for the practical reasons of lighting purposes, and also taking a page from the oculus openings in the Margate Shell Grotto.

Oculus opening were drawn, extruded and sheared according to sun-angles to allow for maximum sun-light coverage.

The design intent was also to allow for the gradual build-up of light that will cover the automobile until the greater opening of the north for automobile going towards Werribee (better illustrated in the sections). While illuminating the mini You-Yang in the center of the structure.

Learnings

Various methods were trialed, including the shear and extrude functions, although to my technical deficiency, basic level of maths, and utter confusion in conversion of angles to radians. It was easier to stick to basic trigonometry in setting a height and referencing a edge of a cone (appendix X) to get a angle of 31.5 degrees based on sun-light azimuth readings for the Werribee context.

31.5 degrees Side Elevation

Plan

Sheared

Figure 1. Oculus Placement 200m

Figure 1. Oculus Culling Geometry Definition: extrude+ shear

200m

Final Bounding Geometry : Car Circulation

: Oculus Openings

: Viewing Frames

=

=

= Contextualising the design

Thus by using the parameters of the site, a resolution unique to the site is achieved.

Form Generation 1. Recipe 1.Choose bounding geometry.

2. Recipe 1.Place largest modular cubic

3. Recipe 1.Place next modular cubic in leftover space between previous cubic and surface.

4. Recipe 1.Repeat step 3.

Voxelization Complexity

Continuing from the initial argument of using various sized cubes to inform our design, we needed to rework the initial logic of placing different sized cubes for our structure.

Instead of dictating the placement of large cubes through arbitrarily specified points, we looked into the use of voxelization in placing he cubes. The advantages of voxelization included the optimization of space and structure through places the cubes with higher structural integrety into the structure, while using the smaller cubes in the outer spaces to achieve a form of artificial non-planar surface. This overcame our initial concerns of the rigidity and limtations to the 6 adjoining directions of the cube.

Advancement

What was not expected was the computational limitation in generating such a structure. Using a standard destop was ran out of memory and stopped the process, in response to this we had to split up the site to various portion to lessen the computational time and risk of crashing.

Although was not expected was the contour like perforations due to the way the surface bounds the voxel process. This effect fit our concept. Although other irregularities include unpredicted extention as seen below in the mega- sized swimming jump platform, which still puzzles me as to why it occurs.

Experiential Divisions

c- c

B B-

A A-

A A-

D -D

D-D

C-

C

B-

B

Plan 1:2500

Serial Vision

Section A-A Sense of Entrance

Section B-B Anticipation

Section C-C Continuation

Section D-D Culmination

m/s

Construction Detailing 750*750*750mm 750*750*750mm

1100*1800*38mm 1100*1800*3 500*1800*38mm 500*1800*38

Joint Specification 1500*1500*1500mm 1500*1500*1500mm

3000*3000*3000mm 3000*3000*3000mm

6000*6000*6000mm 6000*6000*6000mm

2200*1800*89mm 2200*1800*8 1050*1800*89mm 1050*1800*8

4400*1800*140mm 4400*1800*14 2100*1800*140mm 2100*1800*14

8800*1800*184mm 8800*1800*1 4200*1800*184mm 4200*1800*1

ucture 0*184mm

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Basic geometry components configurational diagram: Material Box Specification

1:25 joint pl

Timber structure 8800*1800*184mm Planting box/steel box/copper box(10mm) Timber joint (d= 880mm*w=100mm) joint slot for steel panel Steel joints panel weld +bolted Steel joints panel

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCE

1:10 Plants b

1:25 joint plan Plants selections: Local vegetation that naturally grows in freedrainaging soils in the wild will give most considerations for this project, since their low management requirement.

Box at highier position: ox/steel 5-10cm substrate, r box(10mm) simple sedum/moss species & grass nt (d= =100mm) Lomandra fluviatilis Lomandra longifolia

Themeda triandra or steel panel

s panel ted

P

Construction details:

Myoporum parvifolium Scaevola calendulacea Zoysia tenuifolia

Box at lower position: 10-20cm substrate Greater diversity of vegetations. Sedum/moss com-

munities, dry meadow communities, low growing drought tolerant perennials, grasses and alpines, small bulbs Westringia fruticosa Gazania tomentosa Liriope muscari Dianella caerulea Carpobrotus rossii Bower Spinach Enchylaena tomentosa Ruby Saltbush Myoporum parvifolium

Climbers: Sunny positions: Zygophyllum billardierei, Coast Twin-leaf Clematis microphylla Kennedia macrophylla Kennedia nigricans Shady positions: Steel joint panel Clematis glycinoides Passiflora cinnabarina (90mm)

s panel

Steel joints panel Timber frame (184mm)

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Basic geometry components configurational diagram: Landscape Details

nts panel

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1:10 Plants box sectional diagram

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

olted

1:25 joint pl

Timber frame

Timber structure 8800*1800*184mm plants layer

Planting box/steel steel container 10mm box/copper box(10mm)

rdierei,

Steel joint panel

ylla hylla s

Timber joint (d= Substrate layer 20mm 880mm*w=100mm) Climber plants

joint slot for steel panel

es rina

Drainage layer

Geotextile Steel joints panel Water+bolted proof layer weld

Steel Waterjoints outlet panel

PRODUCE

1:10 Plants b

Plants selections: Local vegetation that naturally grows in freedrainaging soils in the wild will give most considerations for this project, since their low management requirement.

Box at highier position: 5-10cm substrate, simple sedum/moss species & grass Lomandra fluviatilis Lomandra longifolia Themeda triandra Myoporum parvifolium Scaevola calendulacea Zoysia tenuifolia

Box at lower position: 10-20cm substrate Greater diversity of vegetations. Sedum/moss com-

munities, dry meadow communities, low growing drought tolerant perennials, grasses and alpines, small bulbs Westringia fruticosa Gazania tomentosa Liriope muscari Dianella caerulea Carpobrotus rossii Bower Spinach Enchylaena tomentosa Ruby Saltbush Myoporum parvifolium

Climbers: Sunny positions: Zygophyllum billardierei, Coast Twin-leaf Clematis microphylla Kennedia macrophylla Kennedia nigricans Shady positions: Clematis glycinoides Passiflora cinnabarina

Construction Considerations Pragmatic Concerns

Construction of the structure commences with the finished digitally design. The files are given to a material supplier whom will produce the fabricated materials according to design specifications. The cut trusses will then be transported to the site. The largest measure 1.8m width-wise, meaning that transportation should not be an issue as the trucks width is 3.6 m. After transportation cranes and cherry pickers will be hired to aid the installation of these moulds which will be done manually with riveted joints.

Other considerations include a minimum of 5mm gap for airing the timber to prevent wood-rot and various drainage for the proposed vegetation. Local-species selected for their hardiness and their lowmaintanence will be selected, although consulation with a certified horticuluralist will be required before installation.

Phase 1

Phase 2

Phase 3

Modeling Making Process

Reflection This portion of the model making was done by our group member, Aland, as it was easier for one person to assemble the model. From observations, it was laborious work, depite the ‘mass-customisization’ with the grasshopper definition to get it fabricated. There was still considerable manual labour involved, as there was a particular order to place all the various truss structures with different apertures. This involved a computer with the rhino model to put it together. Despite the advances in efficiency from computation, sometimes new complication can arise as seen here.

On the other hand, a 3d print to show massing was also manufactured although it was damaged and taken. One of the remaining piece left is shown. It was interesting to manufacture with the amoung of complexity that was involved in the model. Some issues that occured included making sure that the model was attached to each portion properly and if there were enough joints. The ‘sky-hook’ mistake was done with some portions floating in space, which was remedied by placing more joints, although there was not enough and it split under its own weight.

Although on a side-note, I wonder with all these high-tech experimentation and machinery would it be a exclusive act. With many of the materials, software (i.e, rhino, magic), and techniques costing up to hundreds and more.

Would future experimentation be only in the realms of the better off?

Perspective

Reflections

Conclusion

Before undertaking ADS Air, I had already been aware of the intended engagement with parametricism as a core aspect of this semesters design studio. Various programs overseas at Shanghai with the AA and a basic introduction in Singapore; gave me a small head-start and prepared me to what I was to expect for the coming semester. Although I was and still truly unaware of its potential or even what parametricism is all about to begin with. The lack of understanding and knowledge about computational design and its merits gave me a neutral outlook on how it was applied.

Initially, I did not believe that parametrically designed architecture was progressive. Progressive in the sense that it was generated and driven by conceptual means. I felt that it was driven by what looked most aesthetically pleasing. As a designer my self this idea of form finding over what we are conventionally taught was unusual and foreign to my design process. However, these were my thoughts about computational design before I had commenced the course.

The course outline was particularly focused on engaging with parametrics with an open mind. Having been a agnostic in parametric architecture, I wanted to find out how parametric could be used in urbanism, personally coming from a urban design background. This was anwered as the course objectives would soon impact the way in which I thought about parametricism and the way in which I viewed architecture holistically. The course was intentionally set out to instill knowledge about architecture and where computational design and parametrics fitted into it. From the beginning it has been a intense and rigourous ride. From readings, to set tasks and quizzes, the Course objectives were planned to give everyone a chance to learn the programmes that will be used in the forefront of digital architecture. This had definitely impacted the way in which I view architecture and the future.

Having the a unit master as your tutors for Design Studio was extremely thought provoking. Their experience and abundance of knowledge and insight was something that was sought especially when we hit design walls.

Knowledge is power and having many precedents as a base driving force behind design. However, having the these tutors only meant that we had to try harder and push our designs farther. This was evident not only in my design but in the design process of my peers. The level of engagement and feed back was exemplary of an effective workable open system. Our ideas that were demonstrated in our work would be analyzed, scrutinized resulting in assurance of direction taken or redirection with possible examples and precedents to carry on further. Having set up layers of feedback through social communication and personal engagement meant that our avenue for learning was greater.

ENGAGING WITH THE SOFTWARE OUTCOMES

One of my objectives this semester was to learn rhino and grasshopper to harness its potential. I felt that I have not accomplished this completely.

This doesn’t mean that I did not engage with the software rather, the time spent in fully understanding and applying it could have improved. Despite having gone through numerous quizzes and playing around with the matrices, I still do not have a full grasp of the full potential of the software.

What we have learnt would probably be only a small percentage of the software capability. For instance, scripting via VB script or C-sharp would extend the capability of the software having complete autonomy and control as to what we endeavour to achieve, despite my basic scripting skills. Scripting is an aspect of computational design that I would really like to extend my knowledge and skill set in. It is a valuable tool that can open up new avenues in design approach, philosophy and outcomes.

Its potential is still being sourced and explored. My biggest regret and learning mishap was not spending enough time in exploring grasshopper and pushing the extents of my design further. This was attributed to a few factors. Firstly time being key constraint in developing the design. Self initiated evaluation of designs were compromised with the need to produce designs for fabrication with long waiting times and lapses where there was not evough cutting material. Despite this, I felt that overall I had engaged with the programs at a level that allowed me to produce interesting designs, even though they could have been developed much further.

Despite this I am satisfied with my learning outcomes. The nature of using grasshopper for instance, makes users search for answers through means of communication with other designers whom face similar problems or have solutions to which could be resolved.

With the new tools that are made available new methods of unexpected uses and analysis. As seen in another assignment for Morphological Mapping, the relationship between the activity and experience was extracted and analyzed.

What is in a Name?

Photographic Mapping as a analysis tool for

Urban Experience and Public Activities . design in activating a place has always The role of By mapping photographs that been an debated in urban planning.

From and the experiences pertained to public activity characterof Cullen’s visual experience to the encouragement of human activity to along a transect along swanston The a ingenerate more activity of Jan Gehl. In all,street. they describe relationships between them wereof analyzed direct link of experience to the increase activity, whether if this is ofa perception or other Thus the use of through height field thatactivity. was generated byphoto-graphic intensity mapping and the embedded data within using grasshopper.

These was an experiment freely accessible databases such as flckr and Picasa, will be that wanted to look closer the usual urban to explored as analysis tool for the at correlation of experience activity of in the city. bringing more activity and theory activity By using the photo-location of of pictures of such public activities affecting a experience a place as by and urban character, and analyzing the proximity of the locations Jan Gehl.a height-field map analysis based on the intensities together, of both could Assumptions wereseem made ona whether be generated. There to be general corof both as seen the overlaps in Figure if relation photo-locations of inthese activities truly*, although a lack in correlation along Victoria street is a site for explorepresented experience and activity. In all, it ration. Based on the elevation (figure 8,9,10) of the intensity was a we venue experiment withof news to maps see ato surprising distribution activity skills to previously thought of centralizedrelating activity hub the inner city of Melobjects ofainterest, to inurbanism instead ofbourne. something that you need to build as usual in Although these analysis is meant as a preliminary exploration, Architecture. a first word not a last word, an attempt to capture ideas and to

Figure 1, Public Activities

Figure 2, Public Activities Overlaps

Figure 3, Public Activities Intensity Map

Figure 5, Public Activities

Figure 6, Public Activities Overlaps

Figure 7, Public Activities Intensity Map

Photo-Location, Source Geo-location Picasa Morph Map2012 Database

Photo-Location, Source Geo-location Picasa Morph Map2012 Database

suggest how they might be developed and tested. Its tone will be speculative and irresponsibly open-ended.

Figure 8, Public Activities and Urban Character Intensity Overlap Map

Figure 9, Public Activities Intensity Elevation

Figure 10, Urban Characters Intensity Elevation

Figure 11, Urban Characters Intensity Elevation Overlap References:

• • •

Cullen, G 1961. The Precise Townscape, Van Nostrand Reinhold, London.

Gehl, J 2001. Life Between Buidlings : Using Public Space, Danish Architectural Press, Copenhagen.

Morophological Mapping 2012 Cohort, Data Base, City of Melbourne, viewed 15 Oct 2012, http://www.dropbox.com/home/FINAL%20MORPHOLOGICAL%20MAPPING%20DATABASE

Morphological Mapping ABPL 30051 - 2012 Sai Bond Chong & 537 737

INTENSITY

CHALLENGES - LEARNING PROGRESS

The course itself was challenging and tough especially if you had not embraced it. The biggest challenge, other than it being something completely foreign to me was undertaking the project in a group. I felt that even though it was sometime more difficult to make decisions or be more decisive in the actions taken regarding the project. With a design team, you are offered with more insight within a feedback systems that helps the design grow in different ways. However, having another member would have significantly improved the way in which the design had progressed and resulted. In reality the design process will not be smooth but rather quite turbulent. As an individual, I had been given the opportunity to tackle everything pertaining the design process; from digital modelling to physical model making, photography and graphic design. This meant that I had to spend more time within in each area, acquiring more skills. The challenges created a intensive learning atmosphere.

DESIGN EXECUTION - OUTCOMES

The lead up to the final weeks presented many obstacles. Most of which design related. With regards to the final critique, I realized that there is a lot of improvements to be made. From the actual proposed design to the conceptualization of the project there are many things that I see as outstanding issues. As a designer I am aware that designing must be done within certain time frame. However, the limitation of time with regards to designing of the gateway was a hurdle that was not so easily overcome. My understanding of the final proposal is that it is still a work in progress. Thus my final take on the Gateway project is that it is still a work in progress.

FUTURE PLANS

I am still discovering the potential of computational Design. This semester has proven to be very fruitful. Despite my disappointment in not pushing the design further which ideally would have made it much more successful, I learnt how to employ computational techniques in my design. The skill set acquired in this course is just the beginning to a future of continual learning and discovery. Even though I wasn’t able to apply certain computational techniques to the design, it provides more reasons and justification as to why I should endeavour to learn more and acquire more skills to become proficient in this aspect of design. I envisage to undertake future courses within this field or similar fields of architecture. It can be applied not only in architecture, but also in Urban Planning.

POST COURSE VIEW

As the semester comes to a close it becomes apparent that the views that I held at the beginning of the course has changed quite significantly. From initially not accepting and embracing parametric architecture as a direct result of ignorance, I now appreciate the possibilities that it offers. I once had a preconceived notion that parametricism involved form finding as a basis of its employment as a tool. But, since then I have realized that it is much more complex. It looks at problem solving and experimentation research, and discovery of new possibilities in ranging from structural to aesthetic aspects.

References Information Burry, M (2011). ‘Scripting Cultures’, in Scripting Cultures: Architectural Design and Programming (Chichester: J. Wiley), pp. 8 – 71 Foster, H. (2006). ‘Frank Gehry: The Art of Architecture edited by Jean-Louis Cohen et al Abrams’, 500 pp, £55.00, May 2001, ISBN 0 8109 6929 7, in London Review of Books, Vol. 23 (16),pp. 24-26 Institute for Computational Design (2011). “ICD/ITKE Research Pavilion 2011”. Accessed 19 Aug 2012. <http://www.archdaily.com/180932>.

Kalay, Y.E. (2004). Architecture’s New Media : Principles,Theories, and Methods of ComputerAided Design (Cambridge,Mass.: MIT Press), pp. 5 - 25.

Kolarevic, B(2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press).pp. 3 – 62 Leach, Neil ed. (2009) Digital Cities AD: Architectural Design (London: Wiley). pp. 20-24.

Meredith, M et al (2008). Parametric / Algorithmic Architecture : From Control to Design (Barcelona: Actar), pp. 6-10 Moussavi, F and Kubo, M (2006). The Function of Ornaments (Barcelona: Actar), pp. 5-14 Miller, N (1982). Heavenly Caves: Reflections on the Garden Grotto, (New York, Braziller) Schumacher, P (2011). ‘Introduction: Architecture as Autopoietic System’, in The Autopoiesis of Architecture: A New Framework forArchitecture (Chichester: J. Wiley), pp. 10-28 Williams, R (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp.

102 – 116 Wyndham City Council (2010). ‘Werribee South GreenWedge Policy and Management Plan’ in Werribee South GreenWedge Policy and Management Plan – October 2010, < http://www. wyndham.vic.gov.au/building_planning/strategic/wersthgreenwedge> [accessed 16 May 2012] Various Architects, (2012). ‘‘Yorkshire Diamond” . Accessed 1 Sep 2012<http://www.archdaily. com/14312/the-yorkshire-diamond-various-architects/ >

Images Cover: http://www.coroflot.com/marcomayer/Mixed-work Yorkshire Diamond: http://www.archdaily.com/14312/the-yorkshire-diamond-various-architects/ Tokyo Airspace: http://aftercorbu.com/2008/02/26/arachnotexture/ Exotique: http://www.projectione.com/exotique/ Carpal Skin: http://web.media.mit.edu/~neri/site/projects/carpalskin/carpalskin.html Blob Space: http://www.arcspace.com/exhibitions/blobwall/blobwall.html Vegetation Dunnett, N Kingsbury, N,2010, Planting green roofs and living walls, Portland/London, Timber Press.

Australian National Botanic Gardens and Centre for Australian National Biodiversity Research, 2012 ,Information about Australiaâ&#x20AC;&#x2122;s Flora, An Australian Government Initiative, Viewed: 15/10/2012, <http://www.anbg.gov.au/climbers/climbers.arid.html>

Matrixes

Appendix 1. Cellular Automata Definition

Appendix 2. Voronoi Definition

Appendix 3. Truncated Octahedron

Appendix 4. Sun-Angle Definition

Appendix 5. Voxelization Definition Technic development:

1.Varying void space inside each triangle frame according to the distance to the major views:

Appendix 6. Truss Aperture Opening Definition 2. Fabrications Labeling & laser cutting: 2. Fabrications Labeling & laser cutting:

Appendix 7. Lasercutting Fabricating Definition

1.Varying void s each triangle fr ing to the distan major views:

Matrixes

Appendix A. Artificial La

Appendix B. Automobile

andscape

e Circulation

Appendix C. View Cones going South

Appendix C. Subtracting Sequence

Appendix D. View Cones going North

Matrixes

Appendix E: Optimized cube generator for 3d print Definition (part 1)

Appendix E: Optimized cube generator for 3d print Definition (part 2)