AIR
STUDIO AIR DESIGN JOURNAL 2013 SEMESTER 1 HILTON CHAU 383768
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PART A: EXPRESSION OF INTEREST I CASE OF INNOVATION 4
INTRODUCTION
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PREVIOUS WORK
6-7 8-9 10-11
Bruder Klaus Field Chapel Phaeno Science Center
12-13
COMPUTATION in architecture
14-45 16-17 18-19 20-21
Messe Basel New Hall O-14
PARAMETRIC modelling
22-23
International Terminal Waterloo Aviva Stadium
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CONCLUSION
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LEARNING OBJECTIVES AND OUTCOME
CONTENT 2
ARCHITECTURE as a discourse
AIR PART B: EXPRESSION OF INTEREST II PART C: GATEWAY PROJECT DESIGN APPROACH 28-31
32-35 36-39
40-43 44-47 48-51 52-53
DESIGN FOCUS
64-65
GENERAL BACKGROUND
CASE STUDY 1.0
66-67
DESIGN CONCEPT
New de Young Museum Spanish Pavilion
CASE STUDY 2.0 reverse engineering
Edithvale Seaford Wetlands Discovery Centre Airspace, Tokyo
68-69 70-71 72-73
TECHNIQUE: DEVELOPMENT Matrix
56-59
TECHNIQUE: PROTOTYPES
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TECHNIQUE: PROPOSAL
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LEARNING OBJECTIVES AND OUTCOME
DESIGN FLOW
Pattern generation Form finding Focal point
DESIGN FEATURES 74-75 76-77 82-83
86-87 88-89
Views Visual effects
TECTONIC ELEMENTS FINAL MODEL & FABRICATION 1:100 Site model 1:20 detail model
90-91
LEARNING OBJECTIVES AND OUTCOME
92-93
ALGORITHMIC explorations
94-95
REFERENCES
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INTRODUCTIONW Hi guys, I am Hilton Chau. I am a third year student of The University of Melbourne, currently undertaking an Architecture Major in the Bachelor of Environments. I am an international student from Hong Kong and I have been living in Melbourne for four years. My interest to architecture is due to where I came from. Hong Kong is a metropolitan city where full of skyscrapers and contemporary architectures. However, within the contemporary urnban context, a lot of traditional and characteristic architectures can be found around in the old district. By contrasting both old and modern building, you can see how digital designing tools change the way of designing buildings.
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MY PREVIOUS WORK Two years before, I have done Virtual Environments during my first year architecture studies. During that course, I was asked to construct a paper lantern. Firstly, I designed it with sketches and made sketch models. Then I used Rhino to digitise my model and used paneling tools to test different geometric pattern on the surface of the lantern.Lastly, I fabricated it with paper. During the time of digitising, I fimilarized myself with Rhino, apart from that I also think digital tools actually help creating some interesting form and structure.
Loft diagram of the digital model
Box panels on the surface of the model
From sketches, digitisation and fabrication 5
“Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to building designed with a view to aesthetic appeal� By Nikolaus Pevsner
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Architecture as discourse According to Nikolaus Pevsner, an art historian and critic, building is simply an enclosed space where human being is able to move inside while architecture is building with consideration of aesthetics. However, is that what architecture means? Richard William suggested that, architecture as art since it requires beholder to have the same view of other visual arts. In architecture as art, people are led to think architecture as an individual art work and expect them to be an unique expressions of creative mind which similar to paintings and sculptures.1 Moreover, he added that architecture will be incomplete by simply defined as art. Unlike poems, stories, music or literatures, architecture is restricted. It is because architects can have innovative design, but they are all restricted by elements such as the users, location, urban context, cost and above all the client.2 Architects are hired by the client to execute designs instead of create what they want. Poets, writers, and composers, they all have complete control of their work and they are able put their thought within words and music freely. However, architects do not have such freewill, since the finally decision is usually fallen on the client’s hand. Therefore even we can see architecture as an enclosed skin of the structure or a composition of different materials, it is not an complete art. Apart from that the incomplete definition of architecture as art, architecture also defines as discourse which also known as system of communication. Systems of communications “generates their own components and structures within the ongoing flow of communications� according to Patrik Schumacher.3 Architecture is not only a piece of massive sculpture or a structure but it is an ongoing communication process. By means of communications, users, architect, clients, practices, media, local government and other related parties involve in the architecture field can communicate through architecture. It may not be a verbal communication, but the users can get the ideas and concepts what the designers want to convey. Design has to harmonise with the urban context and this kind of interactive is what I think as the discourse of architecture. Nowadays, people are still talking about or visit some historical monuments, why? Is it because they are old? Is it because they are monumental? Maybe, but the most important is they are communicating with people over centuries. As a result, the key for a good architecture is to and to be communicated. That is how I define architecture as discourse.
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Bruder Klaus Field Chapel
Architect: Peter Zumthor Location: Mechernich, Germany Completion: 2007 People may think its a gaint block of stone standing freely in the middle of a farm in Germany, but it is actually an elegant chapel designed by Peter Zumthor , a swiss architect. They way the architect built this chapel is full of humanity. To build the chapel, 112 three trunks were firstly formed a wigwam. Then form work was set around the trunks and local farmers and residents pour 50cm-thick concrete each time. In total of 24 layers, a solid concrete facade is formed.4
However, the most mystericous part of the chapel is, the tree wigwam end up set on fire and leave the interior a blacken cavity and charred wall. From the way of the construction, I can understand Zumthor’s minimalist concept. The use of local materials such as timber and hand mixed concrete, firmly rooted the building in the landscape.5 The chapel acts as a discourses to the visitors, the black cavity of the interior forms a sanctified which bring the peace and calm to them.
8 Blacken cavity of the chapel
“To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.� by Peter Zumthor
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View of the Chapel when approaching
11chapel View to the entrance of the
Phaeno Science Center
Architect: Zaha Hadid Architects Location: Wolfsburg, Germany Completion: 2005 Apart from the previous building by Peter Zumthor, the Phaeno Science Center is designed by the digital designing master Zaha Haddid. The mysterious appearance of the science center drives curiosity and discovery of the visitor to a world of future. I would say simply by looking of the building structure, visitors will be attracted and also got excited to explore what happen inside. The science center located close to many significant buildings of the city of Wolfsburg such as the railway station and Autostadt (tourist attraction built by Volkswagen). Therefore in order to allow visitors walk toward these attractions under a sheltered area, Zaha designed Architect: Zaha Hadid to Architects funnel-shaped columns support the structure which Location: Wolfsburg, Germany meanwhile create spacious sheltered area for people to 2005 walkCompletion: pass.
Phaeno Science Center
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Top: Interior of the science center Bottom: Rendering
The big concrete columns and some glass windows on the top of the ground floor produced a mysterious atmosphere for visitors. These columns are not only worked as a structural support but also have individual function such as book shop, speaker hall and exhibition hall.6 Zaha explained the idea of its layout is generated by particle explosion. Therefore we can see how Zaha incoporates the different funtional components into the building structures which is rational.7 Besides, from the use of materials, lighting system, positioning, all the design components of the building are designed for the users and visitors. Visitors are able to experience the feel of cyber and future when approaching thei building which again the building itself is conveying message to people.
top right: Interior bottom right: Digital rendering left : View from the bottom
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External view of the science 13 center
“the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.� By Sean Ahlquist and Achim Menges
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Computation in architecture How does computation affect the design process? What are the ongoing and incoming changes within design and construction industries? Computer can be regarded as one of the most important invention of the last few decades. It is a superb analytical machine which can perform accurately according to the program without any arithmetical mistakes. Therefore, with the ability of have quick response and work accurately, computer is in a prominent role of in contemporary design process. At the same time, architects need precise data of the site condition, climate, functionality, building codes, cost and drawing inspirations etc in order to develop the design, as a result the design process of architecture have certain impacts with the aid of computer. 8 First of all, before defining Computation, we have to understand what is computerisation. For example, architects use computer as a virtual drafting board to help himself editing his drawing. We call them computerisation instead of computation, so does scanning a 3D sketch model into computer in order to analysis the model. Computerisation is to make thing easier, quicker and more precise for architects and other parties involve in the design process. On the other hand, Computation allows designers to extend their abilities to handle highly complex situations and also provide a way to explore new forms and structures.9 It can also be explained as computer process information through an understood model which can be express as an algorithm.
What is the impact of computation to architecture? As mentioned before, computation can help generate new ideas and forms. For instance, when architects write a program to solve a design problem, they may come up with something new through the process of modification in the software. This situation will end up produce a new form of structures and forms which diverse the design industry. Apart from that, computation allows architects can do experiments of the structures and materials in order to test their limit in a virtual environment. They can get the data from the computer and try build it in reality which again introduce new form of digitally- denerated form. Digitally- generated forms are the current trend of modern architecture, such models are consistent, continual and dynamic transformation are replacing the static and conventional design process, which explains the contemporary design of architecture is going into a dynamic form. Most of the dynamic design such as topology, NURBS and parametric are based on mathematical definition, so as to form a series of pattern and shape. In my opinion, I do think computerisation set a great foundation for computation. With software such as AutoCad, which increase the efficient of design and documentation and at the same time imporve the communication between different parties in the design industry. Therefore later when the more advance digital design tools such as Rhino, Revit and alot other software come out, designer can use them while designing. During the design process, they will try explore new form and structure in computer. But one important thing is that, Architects and designers have to always believe themselves as they have the creativity and imagination. They should be restricted by computer and there should not be any boundary in design. Computer should always help you in design but not hinder your design.
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Messe Basel New Hall
Architect: Herzog & de Meuron Location: Basel, Switzerland Completed: 2013 The Herzog & de Meuron is firm that driven by conceptual design. In order to accomodate their innovative concept, they use computational tools to help achieving the goal. Kai Strehlke, Head of the Digital Technology Group at Herzog & de Meuron, claimed that they are not trying to do something with technology, but focus more on the design intent and architectural idea and concept. They are developing their own tools to find their conceptual forms.10 This project, Messe Basel New Hall is located in the exhibition square in Basel. The concept of the exhibition hall came from two overlaying boxes with slightly twisted to produce a hyperbolic surface. In order to stand out from the simple form, the architects put lots of effort to generate an interesting skin of the building. The architect used aluminum as a fabric, to produce a two portion of the project. Using the malleability of aluminum to from a visual interest of the building. The digital technology group assembled the 2D CNC-milled components into a complex 3D structure. Therefore the facade strategy has both double curvature and variably size openings.11
What are the ongoing and incoming changes within design and construction industries? The current way of the architectural design is computation as mentioned before, and it will be an ongoing trend in the architecture industry. Since the development of Computer programming will never stop, new digital design software will appear to help generate new form and structures, therefore people who are in the architecture and construction field have to be prepared.12 In the coming future, architects may have to involve more into fabrication process and construction process because of there are building components which can be export to the manufacturer straight from computer. Take the examples from Frank Gehry, the irregular-shjaped glass windows of the Nationale Nederlanden are fully manufactured by digital-driven cutting machine while a metal fish sculpture in spain is Frank Gehry’s paperless project, which means the whole design process is fully digital from design to fabrication. However, how will computation affect the construction industry? Due to the emergence of digital design program, the time of fabrication and construction can be reduced since designers can export their digital files direct to the manufacturers and the outcome is usually very precise and accurately. Besides, 3D laser scanning is also increasingly used during design and construction to help importing a 3-dimensional sketch model into computer so as to generate a digital model.
Top: 3D pattern facade
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O-14
Architect: Reiser + Umemoto Location: Dubai, United Arab Emirates Completed 2009 The O-14 is a twenty-two story tall commercial building in the heart of Dubai’s Business Bay which turned itself inside out with its structural skin flipped to offer a new economy tectonics and space. The structural skin is actually a concrete shell which acts as an efficient structural exoskeleton. The idea of the exoskeleton is to bare primary vertical and lateral structural load so as to allow a column free offic slabs to span between the building. By doing this, the office will be more flexible as the building minises the core of the building. 13 Apart from that, the shell does not only act as the primary structure but a sunscreen open to light, air, and views. Designing this sunscreen involves lots of caltuation such as wind speed, sun exposure, luminosity and other thing. Therefore regarding this, architects have to do research and some simulation in computer in order to determine how to position the openings of the shell. The sunscreen of the building made this building to be a sustainable building. It is because there is a “chimney effect” in the building where hot air rise and effectively cools the surface of the glass windows within the one metre gap between the concrete shell and the glass window.14
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In construction, super liquid concrete and tons of steel reinforcement were required to maintain its rigidity and stability. To make those holes on the concrete shell, Computer Numerically Cut (CNC) polystyrene were placed into the reinforcement matrix of the shell in specific position. In order to have the same shape of the foam, the architect worked with sub-concractors ro systematize the production of foam pills on site.15
The concrete shell of O-14
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Parametric Modelling Critique the use of parametric modelling in the architectural design process. Advangage Vs Disadvantage
Parametricism is the finally answer of architectural design after 25 years of stylistic searching, according to Patrik Schumacher, do you agree? He suggested that parametricism implies “all architectural elements and complexes are parametrically malleable.”15 The geometry of parametricism is changed from rigid figures such as retangles, cubes and cylinders to a dynamic form like ‘hair’, ‘cloth’ and ‘blobs’. Those dynamic forms are able to react with ‘attractors’ in the program when designer vary the scripts. He also proposed that the principle of parametricism is to avoid rigid form, simply repetition, collage of unrelated elements, rigid functional stereotyes and segregative functional zoning. Yet the parametric design should generate soft form, differentiate systems with correlations and be able to communicate with each other.16 However, some scholars disagree with his idea and claimed that the parametricism is not the mainstream of architectural style. Adam Nathaniel Mayer argued that parametric design is only designed for wealthy developers who are looking for public unconventional buildings. They wanted to create some eye catching building with new and complex structure which sometimes ignored the surrounded context. Usually, after the initial shock, people may find the parametric skin of the architecture is hideous and not user-friendly. He added, even people have the software and skill in parametric and digital design, it does not mean that they can build anything in the free form. As an architect, we have to consider the urban context, scale, proportion and users so that the building will not disturb the current site and inerupt the harmonious of the cities, building everything in parametricism is not necessary.17 Furthermore, we have to aware that parametric design is not the only design method in the current world. Architects such as Peter Zumthor, Tadao Ando, Kengo Kuma and David Chipperfield are called the minimalist which design formal building enriched with materiality and spatial experience. These are another way of design which the buildings are respond to context and not simply follow what the software drives you. Moreover, I am not disagree the design of parametricism, I think with the aid of computer software, architect can explore more complex and interesting form and structures which diverse the style of architectures.
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International Terminal Waterloo Architect: Nicholas Grimshaw and Partner Location: London, UK Completion: 1993 Nicholas Grimshaw was commissioned to renew and extend one of the most siginificant international railway station in London, the International Terminal Waterloo. The brief of this building is to build a ‘streamlined terminal’ where passengers could pass with minimal disturbance with maxium speed . Since it is terminal is to provide international services, full security, immigration and customs border control have to be placed with a constrained London site. The allocated site, adjacent to the existing national rail station, was only wide enough to accommodate the necessary five tracks. Limitation such as love electric rails on one side and shallow London Underground tunnels beneath, the challenge of building a streamlined structure was risen.18 This building was built in 1993, by the time parametric design was still relative new. However, it is a good example for how architects used the aid
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Top right: over view of the station Bottom right: Structure of the parametric roof Bottom left: section of the roof
of digital software to design a parametric roof form. The 400m long roof with asymmetric shape in the acute profile was designed to show the expression of flow as a new way of transportation. On eastern side, the roof rises up progressively to fit the height of the trains with a glass cladding.19 In tems of its structure, the roof consists of pairs of three-pinned bow strings arches; the central point located off the center towards one of the sides to allow a bow shaoe in the higher area from West to East. The roof covers an area reduces from 50m at the entrance to 35m at the end. Furthermore, glass tiles of different sizes are overlapping on the flexible roof which can shrink and expand according to different spins of the roof.20
What parametric design is used in this building?
In this early designed parametric roof form, architects set two dissimilar curved with trusses, where the larger one stretched in the inner side and the smaller curved strectched from the top to the bottom. The 35 modules of structural beams vary in dimensions. In terms of digital modelling, architects used I_EMS which usually used to design ships and automoble and Microstation Generative Components for digital modelling. The trusses of the roof can be modified according to the proportional scale factor by the program. However, base on the script, the width of the structure is changable but maintain the central profile.21
Top: Interior of the roof structure Bottom: Glass glazing of the roof
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Top: Overview of the stadium Bottom: parametric roof structure
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Left: Variation of the Parametric form of the roo Top right: Fine tone of the fillet of the roof Bottom right: Workflow of the project
Aviva Stadium
Architect: Populous Architects Location: Dublin, Ireland Completion: 2010 This parametric approach of the Aviva Stadium made use of a centralized method of coordinating communication in order to deliver high quality results on budget on time. This example also showed that the “design conversation� can take place between parties involved and to form a better building. The Avia Stadium has been used commercially available parametric modelling software from beginning to end. In this project, architects and engineers were shared a single digital model in a digital software, Bentley’s GenerativeComponents (GC), in order to optumize the form of design, structure and facade. The succeed of this project showed to the public that with parametric moedl, the interdisciplinary communication can help different parties of the project to work effieciently.22 The geometric definition of the Aviva Stadium was further fragmented in to a set of control devices which provided the architectural team information to its de-
sign department and also to client and local planner.23 Meanwhile, the same model was shared to the structural engineering team to figure out the structural component of the roof. With the same sourse of digital model, it speed up the whole design process as changes can be assessed quickly by the engineers. One of the advantage of parametric design is we can produce varies of models within a set of parameter then pick the best one among all. In this case, the arhitects are able to fine-tune the geometry as parametric modelling provide visual optimization. Besides, the use of parametric platforms allowed design to be tested an driven to a high level of detail from which each subcontractor could work independently.
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CONCLUSION In the section of Expression of Interest, we are asked to argue the topics of Architecture as discourse, Computation in Architecture and Parametric modelling. As mentioned above, architecture as a discourse as a communication system but not an art due to the restriction of architects. In reality, client have to right to make the decision since they are the true owner of the building. However, architects are very important because they have to strike the balance between client’s requirements, urban contexts, users and a lot of other elements in the building industry, they are the media of communication. In terms of computation in architecture, due to the rise of hi-tech digital software and computer-aid calculation, the efficiency of design increased and at the same time more innovative forms and structures are brought to reality. Things that we only appear in our imagination before comes true, for instance the Phaeno Science Centre by Zaha Hadid. With the aid of computer, architects no longer a building designer but also a programmer. In the modern trend, architects not only have to be able to use digital design tools but also develop their own tools which helps in their design such as the Herzeg de Meuron and Foster + Partners, they have their own digital technology group to develop digital tools. Last but not least, as an architecture student, I hope designers will not over-rely on computation. They have to know that, they are the one that control comptuter but not being driven by the computer. They have to achieve the cooporation between rational and creative abilities.
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LEARNING OUTCOMES Computer is your design tools or your brain? After doing research in the pass few weeks, I think computer is a tool which can achieve innovative ideas. It is no doubt that with the help of computer, architects and designers can work faster and while computation in design process, innovative designs always come out. However, we have to be aware that our creativities are not limited by computation. The different between Human and computer is human being is capable to think while computer cannot. As a result, the mind of designers should not be driven by digital software but rather make good use of its ability to optimise the design.
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PART B EXPRESSION OF INTEREST ll DESIGN APPROACH DESIGN APPROACH 26
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DESIGN FOCUS B.1 Our design focus is PATTERNING. Pattern is a design with repetition or differential graphics. Apart from ornament or painted pattern on the surface of building, in contemporary architecture, pattern usually refers to texture mapping on the warped nurb surface. It can also distinguish into five cetagories such as: APPLIED, PERFORATION/CUT, LAYER, FORMED/CAST and STACKED/TILED. Since patterning is a board topic, our group will be able to do experiments on different types of pattern in order to apply in our design. Refer back to the Wydham gateway project, we want to make use of our pattern to create a transformative effect through movement with pattern. We would like to produce a visual effect which target the drivers when they reach a particular location with specific view point.
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APPLIEDapply ornament or pattern on the architecture skin through spraying, printing, installing panels or spraying image and pattern
PEFORATION/CUT -produce profile cuts and perforations in materials such as acrylic and plywood, glass and stainless steel, concrete -can perforem in environmental function with its porous nature of the surface
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LAYERED -Layer envelopes make use of this disjunction between inner and outer skins to generate phenomal conditions of the face -From distortion of moire patterns to the compound visual effects of materials and graphic overlays
FORMED/CAST -Aggregation of custom-crafted units-identical/ differentialed-into greater assemblages of surface, figure, and ornament -Fludity in and out of the plane of the surface
STACKED/TILED -It devrived from the aggergation of individual parts into architecture element -The systems allow for differentiation through the introduction of variation distribution.
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Natural environment
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Digital photogaphs of the rounding sit
surte
CASE STUDY 1.0 B.2 The new de Young Mesuem is designed to replace the original de Young Mesuem after the it closed in 2000 due to sustainable damage by earthquake in late 1980s. A continuous copper facade is designed to combine the various massings of the building, while also providing a material expression for the museum that faces onto the public space of the park. In order to engage the natural surrounding of the museum, the copper facade was designed to simlate the effects of natural light filtering through a canopy of trees. Photos of the surrounding trees were pixe-
High contrast and pixelated image on each elevation
New De Young Museum
Architect: Herzog & de Meuron Location: San Francisco, USA Completion: 2005
ulated through computer software to produce tree pattern on the copper panels. To achieve that result, thousands of copper sheets were embossed and perforated with individual patterns so that the modern architecture would blend into the natural surroundings of the park landscape as much as possible. The copper facadewould slowly become green due to oxidation and therefore fade into its natural surroundings. The facade is also textured to represent light filtering through a tree.
Perforations & Debossing on Copper panel
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Experiment of perforation pattern based on image sampler
Experiment of dimpler surface
PERFORAT 34
CASE STUDY 1.0 B.2 Experiment of dimpler surface based on different geometry and depth
TION & CUT
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CASE STUDY 1.0 B.2 The Spanish Pavilion was designed to reflect spanish’s unique cultural and regious traditions. Given rich Spanish traditions, the architect looked to tradition Spanish and Islamic lattices and traceries and inspired the exterior enclosure for the Pavilion.
Spanish Pavilion
Architect: Foreign Office Architects Location: EXPO 2005 Aichi, Japan Completion: 2005 The form of lattice structure comprised of hexagonal, glazed0ceramic tiles formed the skin of the building. There are in total 6 colors, variations on the read and yellow of the spanish flag. The six-tile panels rotated and mirrored to creat both continuity and highly varied facade.
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STACKED
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CASE STUDY 1.0 B.2 Experiment of geometry pattern
Spanish Pavilion
Architect: Foreign Office Architects Location: EXPO 2005 Aichi, Japan Completion: 2005
Experiment of applying pattern on surface
Experiment of 3D block and extrude curves from the pattern
D & TILED
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ORM & CAS
CASE STUDY 2.0 B.3
Edithvale Seaford Wetlands Discovery Centre
The Edithvale Seaford Wetlands Discovery Centre, is an educational centre sat in the Edithvale wetlands. The discovery centre provides an interpretive experience for visitors to understand the vital and complex history and workings of this urban wetland in general.
Architect: Minifie van Schail Location: Melbourne, Australia Completion: 2012
In terms of patterning , the exterior pre-cast concrete was used casted with interesting pattern. The weaver pattern on the precast concrete possessed a biomimetic quality. It was inspired by pachydermatuos, such as elephant and Rhinoceros.
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Pattern base on the curve value attractor
Increase in wave height
Vary the domain of each curve attractor
FORM & 42
CASE STUDY 2.0 B.3
Edithvale Seaford Wetlands Discovery Centre
RESERVE ENGINEERING During the reverse engineering training, I tried to reproduce the pattern on the pre-cast concrete. Eventhough, the architect said the pattern is actually inspired by pachydermatuos, I found it looks like look more like the pattern formed by rain drop on the water. The definition used the plugin Nudibranch in
Architect: Minifie van Schail Location: Melbourne, Australia Completion: 2012
Grasshopper to generate the pattern. The curvevalue attractor command allow the wave formed according to the curves. By using straight line to points and circles, and changing the degree of the force of the wave height, we come up with something similar to the pre-cast wavy pattern.
& CAST 43 47
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CASE STUDY 2.0 B.3 RESERVE ENGINEERING AIRSPACE TOKYO, was designed by Faulders studio in Tokyo, Japan. The pattern on the skin of the facade was designed to imitate the biomorphic density of the layer of dense vegetation. In order to mimic the organic pattern, architect generated a series of digitally-generated geometric patterns which were then overlaid and projected as voids which puncture the two layers of the facade.
Airspace Tokyo
Architect: Faulders StudiowithProcess2 Location:Tokyo, Japan Completion: 2007 The facade provides shading and reflection of excess light away from the building, the open-celled mesh changes its density corresponding to the internal funtion of the building, for instance to provides privacy for bathrooms and bedrooms located against the facade on the upper levels. from the street to the dwellers and buffers the weather from exterior walkways and terraces.
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Process of reverse engineering: From points to pattern
LAYERE 46
CASE STUDY 2.0 B.3 RESERVE ENGINEERING In this section, we are trying to recreate the facade of the Airspace building through Rhino 5 and Grasshopper. Firstly we spread points on the surface and then we generate voronoi pattern base on those points, Since the voronoi pattern is angular and ridig, in order to imitate the organic perforation, we need to firstly offset the voronoi curves then set curves within the offseted curves. therefore we can generate a curved
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Rendering of applying the Voronoi screen on structure
Airspace Tokyo
Architect: Faulders StudiowithProcess2 Location:Tokyo, Japan Completion: 2007 pattern based on the original voronoi structure. In the Airspace, the architect overlaid two organic pattern panels in order to produce a more complex and organic form with porous and dense pattern due to the internal function. We then reproduce another panel with different density of the pattern and overlay them to form a double skin for the building facade.
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PERFORATION
WAVE FORM
DESIGN OUTCOME 48
VORONOI PATTERN
TECHNIQUE: DEVELOPMENT B.4 Based on our experiments in Case study 1.0 & 2.0, we found that patterning is an really interesting topic with lots of unexpected outcome when applied on architecture. From the de Young Museum precedent, we leart about forming pattern by digitise an impage and form the pattern base on perforation. While from the precedent of Edithvvale Seaford Wetlands Discovery Centre, we manage to reproduce a similar form of a wavey pattern surface which lead use to do something like water wave pattern later, and for the last precedent, we successfully rebuild voronoi pattern
screen with grasshopper. The overlaying effect comes out successfully and the shadow projected is very organic and natural. Base on the three features from the case studies, our group are intended to gather the elements of each and put it into our design for the Wyndham Gateway Project.
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Design Process in Grasshopper
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TECHNIQUE DEVELOPMENT B.4 In our design, we basically used Grasshopper, and LunchBox plugin to generate our voronoi pattern design. We tried to combine the three features mentioned above in our design.
a voronoi pattern which projected on the flat plane surface according to the spacing of the contour line. Therefore this time voronoi pattern are formed by different density and size base on the contour lines.
Firstly in grasshopper, we generated a grid in Grasshopper. Then we applied a point attractor from the LunchBox plugin. We set three points to the attractor command and then the surface grid surface panel was formed to a wave surface.
We offset the voronoi pattern and then form a curved organic pattern with the original pattern. Lastly, we apply a surface morphing command to apply the pattern on the surface we wanted to achieve our design.
Then base on the wave surface, we can generate contour line on the surface. Afterwards, we placed
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ITERATION ONE Wave Attractor Strength
Contour Number
Contour Division Number
Offset Distance
TECHNIQUES
Grid U-Value
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Grid V-Value
TWO
THREE
FO
OUR
FIVE
SIX
SEVEN
EIGTH
MATRIX B.4
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Matrix outcome
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TECHNIQUE DEVELOPMENT B.4 According to our matri, we explore the best outcome from changing techniques. As mentioned before, the pattern is a projection from its contour line wherefore if we change the contour line the whole pattern will change. In the matrix, we did some variation base one the Wave Attractor strenugh, Contour Number, Contour Division Number, Offet Distance, the U & V value of the grid. Since our group designed to search for some organic and leaf-like pattern out of the original voronoi patter. From the best six outcomes of the matrix, we can observe we tend to make the pattern thinner in order to look similar to leaf shape. Besides, the
density of the pattern is also our concern. Since we are planning to apply the pattern on a surface, structurally speaking, if the density is too high while the offset is too low. The connection between each individual pattern will be too thin, therefore additional supportive structure may have to apply on it. Apart form that, if the density is too low, more solid plane will be shown, therefore less light will be able to get through the holes. Shadowing is also another aspect that we are interested in our design. If the density is too low, the solid area will block the sunlight.
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PROTOTYPES 1 B.5
Experiments of overlaying voronoi panels We stacked the 3mm thick voronoi card panels which laser cut by fablab to see the effect of overlaying the patten. Besides we also try putting them from the light source and we found the bright light from the holes produced a great contrast and the effect comes out nicely.
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PROTOTYPES2 B.5 Experiments with light and shadow Prototype 2, we use 1.3mm black paper to make a double -layers panels. We again used light source to shine to the overlapping panels. The shadows projected from the panels to the the wall behind showed a complex and organic voronoi pattern. The different of density and thickeness of the offset will affect the outcome of the shadow directly.
Experiments with different view points As mentioned before, the panels are double skined, which mean two same pattern panels are overlaid closely with 5mm gap in between. Since there is a gap between the pattern, the appearance of the pattern varied when looked from different angles. For instance , the first picture to the left shows a clear pattern. But then when we look at the panels from eye level to the top of the panel, we can see the pattern behind and the overlaying effect.
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TECHNIQUE PROPOSAL B.6
Based on the structure we come up with in section B.5, our design is a double skin structure with voronoi pattern morphed on surface. The pattern was created by Attractor point and LunchBox plugin in Grasshopper. We also want to obtain the shadow and light effect when the sun shine on the structure, shadow with different density should be projected on the driveway.
ronmental direction will inspire the drives of how they can do better for environment.
We want to impress the driver when driving pass the gateway, that is why we need some local elements in our design. We choose voronoi pattern is because of it’s organic shape which remind us the awareness of sustaining environment. From the information, the melbourwater will install a water treatment plan close to our gateway, therefore the natural and envi-
Furthermore, we may design our structure spans over the two main driveway in site A and B. However, since the directions of the roads are different, our group may want to create a slightly different experience for drivers. The density of the pattern will be varied due to sun light or other site oriented reason.
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In terms of the response to the drivers, we want our pattern can target the drivers. In some specific angle and view points, the drivers can have different visual feedback which can impress the drivers to come again in the future.
LEARNING OBJECTIVES AND OUTCOMES B.7
During the presentation, we mainly focused on how the pattern can produce different effect in order to target the drivers or produce interesting shadow. But we could not show the panels our design concept and direction clearly. Therefore, after the presentation, we discussed alot about how can we generate a better concept and a more clear direction. We collect the comments from panels and tutors, and think we should go for the overlaying of pattern instead of extrude pattern out to make a 3D solid pattern panel. Therefore we come up with use the pattern we have chosen and then develop it on particular surface. We also tried to use a double layers structure as the effect of shadow will be more complex and the organic pattern will form very nice effect on the road.
Furthermore, we also want the drivers to experience different effect from the pattern. Therefore we are intended to do not only a single tunnel skin, but a series of arch structure span across the road with different pattern so as to provide different experience to the drivers. We also tried to input more local element of Wyndham City, therefore we will analyse the incoming sun path, the landscape of the site to create an impressive stucture for Wyndham City.
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PART C PROJECT PROPOSAL 62
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GATEWAY PROJECT: General background: We have been asked to participate in a Gateway project for the Wyndham City. Wyndham City has been undertaking a series of project to upgrade its condition and aesthetics of its streetscapes, open stapces and park, so as this Gateway Project.
Site:
The project is located in the Princes Freeway, a major traffic connection from Geelong and the south west wast to the CBD which should feature a prominent entry statement at the major interchange into Werribee. The site is a very flat and wide open landscape which incorporate a few view Following the success of “Seeds of Change” in 2003, lines from the surrounding roads and the service nd “House in the Sky” in 2001, Wyndham wishes to station. build another innovatice and prominent indicator to provide a focus to the Western interchange entry to the City. Therefore, public art has become a familiar feature within Wyndham from urban centres and suburban parks to sculpture walks and rural attractions. The council hope the installation will enhance the physical environment through the introduction of a visual arts component which is long lasting, encourage ongoing interest in the Western interchange by producing further impression beyond the first glance.
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GATEWAY PROJECT: DESIGN CONCEPT Design concept: Our design concept was based on what we have experimented in our Part B Design approach. We tried to explored different kind of pattern as our design focus was patterning. By using case studies and reverse engineering, we decided to develop our own unique pattern based on Voronoi pattern system. By making protytypes of our Voronoi pattern, we came out with satisfying result with organic voronoi pattern form similar to leafs and corals form with reasonable spacing between cells. In order to create a more interesting visual effect, we decided to duplicate the same pattern and offset with a distance to form a double layer panel which formed an overlaying effect. This effect will create a transitional pattern when view from different angles and additionally, it able to create a very nice and complex form of shadow under the light. We continued to develop this effect and tried to apply on our final design and linked it back our design arguement which was to design an innovative but realistic parametric designed gateway that can create a transformative effect through movement with pattern and als produce a visual effect with pattern and also produce a visual effect that targets the drivers at a particular point. The overlaying effect derived from Part B
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GATEWAY PROJECT: DESIGN FLOW & PATTERN GENERATION
Grid surface
Contour overlay
Contour projection
Voronoi abstraction
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Pattern Generation: Since our design focus is patterning, we put a lot of effort to find the best outcome of our pattern design. As mentioned in Part B, we used a voronoi pattern as our base concept. We started off with the grid surface, but using attractor weave, we set points to create a undulation of the surface which consist of several contour lines. Then we project the contour line back to a plane surface and then generate our unique voronoi pattern within the contours line. The pattern we chose for our final design consists of organic and leaf form. The pattern will not only being visualised by drivers as an leaf form but also able to project interesting shadow on the along the gateway under the sun.
The best six outcomes of the matrix, we can observe we tend to make the pattern thinner in order to look similar to leaf shape. Besides, the density of the pattern is also our concern. Since we are planning to apply the pattern on a surface, structurally speaking, if the density is too high while the offset is too low. The connection between each individual pattern will be too thin, therefore additional supportive structure may have to apply on it. Apart form that, if the density is too low, more solid plane will be shown, therefore less light will be able to get through the holes.
The last six outcomes of the generation of pattern
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GATEWAY PROJECT: DESIGN FLOW & FORM FINDING
Voronoi abstraction
Centre designation
Circle crop
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Form finding: 1. We have been looking for a way to apply our voronoi pattern onto a surface or a phycial structure. We then decided to use the pattern as a basic form on the ground. But instead of the square based pattern, we decided to crop our pattern out of a circlar base with uniform radius. 2. Furthermore, we also applied a uniform pattern on individual cell from the circlar pattern.
2. Pattern application on surface
1.Circular crop based struction
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GATEWAY PROJECT: DESIGN FLOW & FOCAL POINT Since our base structure is circle, it formed a similar shape by lifting up the panels from the focal point.We designed our gateway not only catering the drivers and passangers but also people who can see the gateway from varies points. By placing it at the end of the north bound of the princess freeway which covered bothe Site A and Site B can expose more of our design to the public. Because we want our design to be seen easily by public, we have to create a physical form of our gateway. To do that, we place a focal point at the centre of our cirular base structure and then we lifted up the panels based on the focal point to created an experiential gateway voronoi patterned panels along the sides.
Top: Focal point at the centre of the circle Middle: proportion of the inclination to the focal point Bottom: Lifting up the panels based on the focal point
Focal Point
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The focal point that we set was placed at the centre which determined the inclination of our panels; while the closer the distance to the focal point the larger inclination of the panels. This derived a structure with a gradually decreasing inclination of the panels.
Road throughway
Integration
Lifting up
Site
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GATEWAY PROJECT: DESIGN FEATURE [VIEWS]
View point 1. Entrance
View point 2. Service station
View point 3. Emerging road
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Top: View point 1 Middle: View point 2 Bottom: View point 3
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Creating discourse was one of our main design concepts too. By setting up a circular based structure, we created similar but unique image. We focused on three main views around the site which will be majority people seen. The first on was the entrance of the gateway. As the entrance of the gateway, drivers and passangers were able to see a welcome channel with patterned panels along the sides of the Princess Freeway. This created an experiential effect to those users. The second view point was from the service station located to the north east from the proposed gateway. The experience of users in the service station would be different from the users on the freeway as they were viewing the gateway in a static state. Therefore people there will see the gateway as a sculpture an unclear pattern on the panels.
The third view point was from the emgerging road to the south bound freeway. Drivers and passenger driving towards Geelong would able to see the gateway from a distance with a relatively slow motion of the gateway. From that view, people will be able to see how the gateway embrace the sun when sun set. From three or even more view points, public can experience our design differently. That is why our design could create discourse to public as everybody has their own interpretation on everything.
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GATEWAY PROJECT: DESIGN FEATURE [VISUAL EFFECT] Apart from creating several view forms for public, we tried to develop a more interesting visual effect which only cater for the user who pass through the gateway. As mentioned before, we lifted up our panels based on the centre focal point. With the satisfying experienmental results from Part B, we decided to creat an overlaying effect of our panels. We dublicated the same panel with a 0.3m offset of the double-layer panel. Without the double-layer panels, people could only see many overlaying patterns on the panels. However by changing them to doublelayer panels, we can capture a clear pattern at a specificpoint when people pass by the panels. The diagram on the right shows how the visual effect works. Firstly, the car drives toward the gateway, drivers and passangers will see pieces of double-layer panels standing along the roadside and its the overlaying pattern within the double-layer panels. Then when people reach the focal point, all the panels along the roadside are facing towards them and therefore they will be able to see a clear pattern from the panels. But since there is only one focal point along the road, this subtle effect will happen within a second. However, this effect will be able to catch people attention which asked them to rethink what had just happened. After driving pass the focal point, things will return back to normal with overlaying pattern within the panels. This visual effect provide a transition of treadhold along the Princess freeway towards Melbourne. The visual effect brought them from a rural area towards the busy Melbourne CBD. By creating this subtle effect, we hope the users will rethink about what they have just seen, and maybe they will pay more attention when the drive pass this gateway again.
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Top: Illustration of the double-layer panel Bottom: Views of the over laying effect based on movement
Melbourne CBD
View from the car to the gateway
Princess freeway
Passed the focal point
At the focal point
Towards the focal point Wyndham 77
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79 Render at the end of the gateway with panels
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81 Render of the view from north east
GATEWAY PROJECT: TECTONIC ELEMENTS In our design, we proposed to use stainless steel as the only material. We use stainless steel due to the consideration of its metalic properties. We think that stainless steel can come up with the best shape of our structure. The panel with pattern will be easily made by laser cut or other suitable cutting method. However, we have a rim that weld the two panels need to be bent and twisted in a certain form. Therefore the malleable properties of stainless steel, would allow us to obtain the smoothest and curved rim.
Stainless steel
Up
82 Detail elevation of the double-layer panels
It has been a hard work to think of how the panels attach on the ground. Originally, we proposed the use of anchor bolt which we used a steel bracket and then clamped the bottom of the panels and bolt it to the concrete pad. However, we were later being adviced that the anchor bolt might not be able to hold up the panels especially to those with heavily tilted. Therefore, we were suggested to use a pare of U-bolt to screw each panel down to the pad and also extrude a steel supportive fins to help transfering the load to the ground. In this case, since we used U-bolt to fix the panels to the concrete pad, the concrete pad might have to prefabricate in factory first. Furthermore, we also installed up light to light up the panels at night to provide different experience at day and night. Drawing of the steel supportive fin
Anchor bolt & steel bracket U bolts and steel supportive fin
light
Proposed fixing to the ground
Modified fixing to the ground
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Night view from the entrance of the gateway able to see the light shining on the panels 85
GATEWAY PROJECT: FINAL MODEL AND FABRICATION
1:100 Site Model
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Top left: Laser cut the polypropylene Middle left: Glue the panels on the site model Bottome left: Top view of one of the side of the site model Top right: Lifting them up to create an inclination Middle right: Completed the circular base shape Bottom right: View of how the panels were lifted up
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GATEWAY PROJECT: FINAL MODEL AND FABRICATION
1:20 Detail model
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Top left: Gluing the rims on the laser cut panels Middle left: Arranging them in pair Bottome left: Spray the panels with silver metallic color Top right: Adding a split pin at the bottom of the panels Middle right: Split pin was pinned through the black foarm board to hold the panels Bottom right: Attached all the panels on the foam board
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GATEWAY PROJECT: LEARNING OBJECTIVES & OUTCOMES In the entire Wyndham gateway design project, our group tried to stick with our design topic which and developped form and structure based on patterning. Originally we found it quite hard to do it because we explored series of two dimensional pattern which do not have an actual physical form. Therefore in the Part B presentation, we only showed the jurys our prototypes of the pattern and its overlaying effect because we were still haveing difficulty to find a form to apply our pattern. However, later we were suggested that applying pattern to a certain form is not the only way to design pattern related structure but we could use the pattern itself to form a structure which might able to develop a better relationship between the pattern and its form. As a result, by doing experiments and explorations to the possibilities of patterning. We successfully genearte form for our final design by using the pattern itself.
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Even though our team thought we have been doing well in order to tghten the cohesion between the pattern and form, we were told by the jury that the pattern we have choosen might be a subjective choice. For instance, some people might thing our final pattern was not satisfying or even ugly. Therefore to further develop our design, we thought we might input more site and the Wyndham related elements in our design. Apart form that, since we have been using one pattern for the whole gateway project from its form and the detail in the panels, we were suggested to add some variations in the design. For instance we can change the scale of our pattern continuously from the entrance of the gateway to its end. This might result a better experiential effect to the users as suggested by tutors. In terms of feasibility of our design, we proposed to use an anchor bolt to bolt the double-layer panels on a concrete pad in order to fix the panels on
Left: Pattern based positioning of panels Right: potential variable of patterns on panels
ground. But then we were being told that the anchor bolts might not be strong enough to support the panels espectially those cantilevered. Therefore we modified our design by using U bolts to fix the panels on ground and also extrude part of the panel to form a pair of steel fin to support the panel too. Furthermore, we were asked to use parametric design tools to design our project. Programs such as Rhinoceros 5 and Grasshopper plugin were our basign design tool which was being used from the begining of our design process such as generate the voronoi pattern to the final stage of construc-
tion detail. With parametric tools computation, it was easier and quicker to come up with variations of forms and structures by adding components and changing sliders. It not only helped us when design but also during fabrication of prototype. By using parametric design tools, we were able to unroll our surface accurately to create a more precise model for experiment.
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ALGORITHMIC SKETCHES By exploring the Grasshopper 3d, a graphical algorithm editor, in Rhino 3D, we can easily generate parametric designs. As Grasshopper is an algorithmic-based program, every components can be broken down into scientific and mathematic explanation. Therefore, we will know the limit of the design but analysis the scripts. The algorithmic sketches on the left page were a demonstrate of making a basket like structure. By building up simple curves structures and two guidline for the pipeline, Basket-like structure will be formed. We can also change the input from the algorithem in order to get varies of structures based on the same parameter.
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REFERENCES Alvarado, R G., Munoz, J J., 2012, The control of shape: origins of parametric design in architecture in Xenakis, Gehry and Grimshaw, METU.JFA Architectural Design, Computation Works- The Building of Algorithmic Thought, ed. John Wiley and Sons Ltd., Issue 2, Vol 83 2013 Arcspace.com, ‘Phaeno Science Center’, (http://www.arcspace.com/features/zaha-hadid-architects/phaeno-science-center-/) [2013, April 2] Kalay, Y., 2004, Architecture’s New Media: Principles, Theories, and Methods of Compute-Aided Design, MIT Press, Cambridge, pp. 5-24 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 Mayer, A N., ‘Style and the Pretense of ‘Parametric’ Architecture’. (http://adamnathanielmayer.blogspot. com/2010/06/style-and-pretense-of-parametric.html) [2013, April 2] Nicolai Ouroussoff, ‘Science Center Celebrates an Industrial Cityscape’, The New York Times, 28th November, 2005
Pell, B., 2010, The Articulate Surface Ornament and Technology in Contemporary Architecture, Basel : Birkhauser ; London : Springer Roly Hudson, Paul Shepherd and David Hines, ‘Aviva Stadium:A case study in integrated parametric design’, international journal of architectural computing, issue 02, Vol 09, 2011 Reiser, J., Umemoto, N. & Ocampo, J., Case Study: O-14 Folded Exoskeleton, CTBUH Journal, Issue 3, 2010 Schumacher, P., 2010, Patrik Schumacher on parametricis m - ‘Let the style wars begin’ [Online]. (http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article) [2013, April 3]
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Williams, Richard, ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts and Contexts, ed. Matthew Rampley [Edinburgh: Edinburgh University Press, 2005], p. 102-116 Wyndham City Council, Western Gateway Design Project ww.wydnham.vic.gov.au Reiser, J., Umemoto, N. & Ocampo, J., Case Study: O-14 Folded Exoskeleton, CTBUH Journal, Issue 3, November, 2010
PRECEDENT REFERENCES [Part B] New de Young Museum Pell, B., 2010, The Articulate Surface Ornament and Technology in Contemporary Architecture, Basel : Birkhauser ; London : Springer Spanish Pavilion Pell, B., 2010, The Articulate Surface Ornament and Technology in Contemporary Architecture, Basel : Birkhauser ; London : Springer Edithvale Seaford Wetlands Discovery Centre http://www.mvsarchitects.com.au/doku.php?id=home:projects:edithvale_wetlands_centre Airspace, Tokyo http://faulders-studio.com/proj_airspace.html http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html Pell, B., 2010, The Articulate Surface Ornament and Technology in Contemporary Architecture, Basel : Birkhauser ; London : Springer
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