ADS 3 Final Journal Submission by Dhanika Kumaheri

ADS AIR DHANIKA KUMAHERI

down the rabbit hole

We live in a very exciting time of change. As a young architecture student developing design thinking and design skills , this period in time offers us fantastic “adventures”, opportunities, dreams, visions and ideals. Essentially, the revolution of computational and digital tools has lured us down the rabbit hole, to the magnificent Wonderland, full of untapped resources and unexplored possibilities. It is also the cocaine of the self-proclaimed avantgarde architecture, so far pleasing only a significantly small portion of the international stage, but causing an ongoing addiction for research and progress for its cause. It is the purpose of this semester’s design studio to focus on, and contribute to, this ongoing architectural discourse, and to do so not only through meaningless form-finding, but more importantly in developing mastery in designing with these new tools where creativity is not “instant” but traceable and runs through the whole project. What this studio will not be, essentially, is “...an onanistic self indulgence in a cozy graphic environment. Endless repetition and variation on elaborate geometrical schemata with no apparent social environmental and technical purpose whatsoever.” -John Frazer, in M.Burry’s ‘Scripting Cultures’-

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fabrication

epilogue

construction detailing

finalized design concept

FURTHER DEVELOPMENT

Research Project: CUT: FABRICATE

eoi summary key learning achievements

Research Project: CUT: FABRICATE

VORONOI PANELS CONTOUR PANELS

Research Project: CUT: Develop

CHOSEN CASE STUDY

CUT CASE STUDIES

Research Project: CUT: Develop

matrix: methodology input-association matrix INPUT-ASSOCIATION-OUTPUT MATRIX SELECTION PROCESS DISCARDED CANDIDATES

Research Project: CUT: Develop

case study 2 : philosophy &technique

case study 1: design philosophy

Case for Innovation: Parametric Design

CASE STUDY 1 INTEGRATION INTO EOI CASE STUDY 2 INTEGRATION INTO EOI

week 01

Case for Innovation: Computation in Architecture

CASE STUDIES AND PERSONAL PROJECT

architecture as sign

architecture as art, SIGN AND URBAN EXPERIENCE

defining architecture AS A DISCOURSE

Case for Innovation:Architecture as a Discourse

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wk 01.01 case for innovation

DEFINING ARCHITECTURE AS A DISCOURSE

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2. A su adva mmary o nce arch f what it itect ural means to disc ours e.

Defining architecture has been a focus and rather, a hobby for many architects since it is so open ended and hard to define

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Ian McDougal, AND Lecture series 2012

the goal It is the true aim of this design studio, in the use of new computational tools and design thinking, the Expression of Interest Document, and also the Wyndham City gateway project, that whatever results spring in the end - will contribute to the great and ongoing architectural discourse. A step forward.

diagram 2. The strife to advance architecure as a discourse: to push boundaries forward with individuals performing as a whole.

diagram 1 &2 summarized from lecture 1 : Understanding the Course : Architecture as Discourse Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. 8 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

wk 01.02 case for innovation

ARCHITECTURE AS ART How architecture as art has advanced the architectural discourse

Architecture as art, in this case - as an expression of a design intent that have the power to evoke a feeling, emotion or association, and produce significant effects to its consumers, has been an ongoing contribution to the architectural discourse. The pylons of the Karnak temple (figure 1.1)are seen as a canvas for artwork. It is adorned in hieroglyphs and represent a barier, a gate to the inside of the temple,which is a representation of the realm of the gods. The reason why they are so tall inheight is to intimidate the unworthy. The same idea of decoration to achieve an elevated ‘state’ of being, and the manipulation of height is later used, more than 1500 years later, by a British architect called Sir John Soane, in the adorning of the walls in his home. The towering height and the chaos of artworks were conceived to be a trick to overwhelm, and to cause a sense of reverity and vertigo. One can see that even though Sir John Soane borrowed a piece of an idea from Karnak temple, that he also duly added his own intake to it. fig 1.1 (top). Karnak Temple, Egypt. fig 1.2 (bottom). Sir John Soane’s House in London. (now Sir John Soane’s Museum).

And this is what it means to contribute to an architectural discourse. It is to look back upon what has already been done, reflect upon it, and reproduce it in a way that both reflects the zeitgeist of the time as well as offering something new that will broaden the meaning of architecture and give the opportunity for someone else in other parts of the architectural profession to replay the process.

The previous works shown earlier were great works of art. However, it is undeniable that they are also out of date. It is mandatory that architecture as art reflect the zeitgeist, the soul of the current age. And right now, the age demands for something contemporary, dynamic, a parametric manifesto.

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Architecture is the most dominant and prevalent form of art. However, there is something slightly problematic with this view. Reading architecture merely as a conception of a genius artist, an offspring of ideas that are aesthetically grand and pleasing is nothing but an incomplete view of architecture, even though this is the most common view of architecture from the general public. Architecture seen in this way also neglects the needs of the masses and becomes no more than a visually aesthetic privilege for a select people in the top architectural hierarchy (Williams, 2005: 105-107)

ARCHITECTURE AS SIGN How architecture as sign has advanced the architectural discourse Once we have established that architecture could be an artform, the question that follows is “Beacuse it is subjective, then how do we interpret it?” It is precisely this quality in architecture that allows it to be defined also as a sign.

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wk 01.02 case for innovation

Architecture as a sign is highly related to its associative powers. Throughout history architecture has been used to show power, represent a political stance, represent a particular social group’s presence, ethnical identity, or cultural identity.

For example, skyscrapers have long since broke through from its initial meeting its space-cost efficiency. Different from its earliest predecessors of proto-skyscrapers like the Life Insurance Building in New York, built in the 1870s. They are now architectural signs of modern civilizations, a proof of technological and engineering superiority, financial power, design and cultural prowess and stature of a nation. This is what it means to look at architecture as signs. Looking at architecture as a sign means looking at architecture and its meaning and impact in the public’s eye. In order to properly interpret architecture and the meanings behind it, one must look at its context, its predecessors, its design drivers and constraints, and its designers and consumers.

This is how looking at architecture as a sign contributes to the architectural discourse. Interpretation of a single architectural entity will not be achieved without extensive discussion that will touch upon other ares in the subject. It contributes to the discourse because interpretations of architecture rely on architectural symbols and gestures, which have different meanings over time. Therefore, looking at architecture as a sign contributes to the architectural discourse because it is equivalent to interpreting constantly changing language, that are influenced by the changing social, political, cultural, and historical environment

Architecture has to have that capacity for people to project their own understandings and beliefs into them , in a sense, the public must be allowed to appropriate a bit of the ‘interpretattive’ aspect of architecture. If not, architecture is meaningless, if not architecture cannot communicate and therefore is detached from its main consumers, rendering it disfunctional and unloved.

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And like them, we are certain that architecture ought to function on the level of a sign, as well as anything, and actually- that as signs, they are open to multiple interpretations. The meaning of architecture was therefore not single, authoritarian and closed, but multiple, democratic and open.;

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-Richard Williams, 2004-

ARCHITECTURE AS URBAN EXPERIENCE

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it describes the point at which debate cxpands from consideration of buildings alone, to consider the psychological (and indeed other) effects that an accumulation of buildings might have.

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Looking at architecture as an urban experience does not subject buildings or any other architectural elements below the power of urban planners, or the city as a whole. It is merely acknowledging the fact that architecture dissolves into nothing more but an accumulation of experiences, emotions, memories, activities, and necessities within an urban fabric. It is interesting to explore the situations when an individual stops perceiving the city as an agglomeration of buildings, but instead as a series of experiences shaped and made by these precise arrangement styles, ad design of buildings or other architectural elements.

INTEGRATION TO EOI AND WYNDHAM CITY GATEWAY PROJECT With the interest of contributing to the architectural discourse, the proposal EOI and the final proposal for the Wyndham city gateway project should encompass all three definitions of architecture. The final proposal will present the gateway as art, sign, and urban experience. It must have a pleasing artistic appeal, be a vessel or machine of Wyndham city identity that people can interpret and appropriate with their own interpretations and understandings, and most importantly stress the urban experience of driving through it.

conclusion Why contribute to the architectural discourse in the Wyndham city gateway project?

It enriches your project. It’s the most effective way to make your project be discussed and remembered. It gives your project a ‘timeless’ quality. It gives your project life beyond its intended time. We are taking a step to advance and influence the ideas and practice of others in the field of architecture, which in time, or in the future also may inform our work in return. Contributing to the ongoing 'idea machine' that has been a tradition for as long as architecture existed.

the blur bui lding Diller + Scofidio Yverdon-les-Bains, Switzerland - 2002 Progressive Architecture Design Award exhibited in : Swiss Expo 2002 Featured in: Ted Talks http://www.ted.com/talks/liz_diller_plays_with_architecture.html http://www.dsrny.com/

The Blur Building by Diller + Scofidio, is almost literally no building at all. It was a temporary pavilion for the 2002 Swiss exposition that was developed based on the foggy Swiss weather. It was unique in that the primary material used in the building was water vapor. Also, a smart weather system reads the shifting climactic conditions of temperature, humidity, wind speed and direction, and processes the data in a central computer that regulates water pressure.

This whole orchestrated effect creates architecture that fully and wholly immerses you. So much, in fact, that you forget where you are, what you are doing, and everything dissolves into emotions and feelings of apprehension and excitement. i m m e r s i v e // g r i p p i n g // i n e s c a p a b l e

image above left. perspective view of blur building entrance ramp image below left. Visitors get equipped with raincoats for their â&#x20AC;&#x2DC;blur building adventureâ&#x20AC;&#x2122;

Probably the single most compelling aspect of the project is its role as a changeling, and also the weightless aspect of it. The Building also provokes the consideration of the role of gravity, the weight of our buildings in the distant future that begin to escape the bounds of the earth. B.W. Parker, pRACTICING ARCHITECT IN NEW YORK

perhaps one of the really interesting things about the building Is that it makes people think about environmental experiences and strategies, and maybe those sort of strategies will become fashionable.

MARY HANCOCK, COURSE CHAIR FROM OXFORD BROOKES UNIVERSITY

THE BUILDING DOESN'T SUGGEST NEW CONSTRUCTION TECHNIQUES. IT PROPOSES NEW WAYS OF THINKING ABOUT ARCHITECTURE, OPENING UP OUR MINDS TO WHAT ARCHITECTURE CAN BE. MORE AND MORE, PEOPLE ARE REALIZING THAT ARCHITECTURAL DESIGN DOESN'T JUST IN� VOLVE JUST BRICKS AND STICKS AND STATIC FORMS, THAT IT DOESN'T NEED TO HAVE SPECIFIC BOUNDARIES. USMAN HAQUE. PRACTICING ARCHITECT, BRITISH ARCHITECTURAL INTERACTION DESIGN FIRM

IT ALSO MAKES US QUESTION WHERE LIES THE DIFFERENCE BETWEEN ARCHITECTURE AND NON ARCHITECTURE. IT GIVES YOU THE FEELING OF BEING PART OF A CONSTANT METAMORPHOSIS.

EVA AFUHS, ARTISTIC DIRECTOR OF THE 2002 SWISS EXPO

integration into EOI

The blur building was a translation of the ‘common swiss fog’, an ordinary element well known to the people of Switzerland. Yet, its execution was far beyond ordinary. Through the use of computer-controlled systems, the blur building, while mimicking the natural fog phenomenon, also delivers an immersive new definition of an architectural environment. A similar approach will be taken into Wyndham city gateway. The aim is to take a local element from Wyndham, reproduce it parametrically, and deliver acritical statement of Wyndham’s identity as well as an unforgettable immersive experience of a gateway.

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brod/the ship /la nave a project of the Ministry of Culture, republic of Croatia Architects: Saša Begović Marko daBrović igor Franić Tanja grozdanić peTar Mišković SiLvije novak veLjko oLuić heLena paver njirić Lea peLivan ToMa pLejić goran rako Saša randić idiS TuraTo pero vuković Tonči Žarnić

Exhibited at : 12th international architecture exhibition, Venice Bienalle 2010. “People Meet in Architecture, August 29 - November 2010, directed by Kazuyo Sejima Publications: An interview with Leo Modcrin, project comissioner http://www.domusweb.it/en/video/leo-modrcin-croatianpavilion-arsenale/ Videos of The Ship’s details, elements and construction http://www.veengle.com/s/Croatia%20Pavilion.html Official website http://www.pavilion.hr/index.php Official Publication: http://www.pavilion.hr/download/book.pdf

This impressive installation is made up of layers of steel reinforcement meshes cut up into different patterns to accomodate voids. With this layering technique, the intrinsic qualities if the industrial and mundane material were explored and harvested in creating a ‘hazy’ effect of visual pollution. The composition of the meshes makes the pavillion look almost see through and almost like a pixelated illusion or eye trick. This is in itself a statement against the stereotypically monumental approaches normally seen in national pavillions, with their high definition monumental external forms. The designers of the ship has chosen to invert the definition of monumentality by totally dissolving the external boundaries of the pavillion and making visitors concentrate on the experience inside and not so much its external form.

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image above left. exterior shot of the ship with visitors. there’s clear evidence of the dissolvingof external planar boundaries of the pavillion. image below left. perspective view of the ship, boasting its hazy visual pollution effects. image above. CAD drawings of layout cut into the wire 12 wire meshes that will be stacked on top of each other. these 12 layers make up the whole pavillion structure.

p o l l u t e d v i s i o n //c r i t i q u e a g a i n s t m o n u m e n t s // i n t e r n a l i z i n g the experience

INTEGRATION INTO EOI Like the Croatian Pavillion, a similar approach will be utilized to deliver a design that critiques the stereotypical monumental buildings that relies too much on its high definition external form and appearance, and rather focus more on delivering an internal sensory experience that is immersive and memorable. The delivery for the Wyndham gateway project shall come in 2 parts : an external shell in the form of a mundane, ordinary geometry that masks a myriad of parametrically designed, delightful sensorial stimuli inside.

It should not be read as a building, it has no scale. The project attempts to avoid the terror of the visual, to include other senses and in that way bring architectural space to recognition. sensory properties like the sharpness of the elements that emerge by cutting, the wind that you feel penetrating the structure â&#x20AC;&#x201C; all that introduces you to some form of topography that is not created through three spatial dimensions, but emerges on the complex scale of welded wire mesh. t o n c I Ĺ˝ a r n I ccroatian pavillion architect

urban creature of tongzhou a personal group project for aa beijing winter school 2012

This project is an experimental conceptual work focusing on the potential pf computaional tools to compute and calculate how different varieties of factors and parameters might potentially alter, kill, disfigure or grow a plan of an urban settlement. After designing (scripting) several different scenario biofurcations for population growth in Tongzhou city near Beijing, The purpose of this experimental work is to investigate alternatives to substantiate the capabilities and potentials of computational design into more meaningful levels through experimentation on high density redevelopment for transforming Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of the population burdens of the old city center.

2 scenario bifurcation 1. Settlers come in. scenario bifurcation 2. population growth scenario bifurcation 3. stagnant growth scenario bifurcation 4. densify scenario bifurcation 5. baby boom

growth node

integration into EOI

growth corridors

This Tongzhou project looks at the issue of time and change and how a design could morph and change according to external factors that are constantly changing. Wyndham as a city also undergoes periodical changes such as of demographics, climate, culture, and societal. The site for the proposed gateway also undergoes periodical change, even just in the short span of one day. It is therefore relevant to incorporate the changes that occur on the site within a 24-hour time-frame and use it as opportunities to create design decisions. The final proposal for Wyndham city gateway project may have a few different ‘faces’ or ‘looks’ as a result.

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We pursue the parametric design paradigm all the way... systematic, adaptive variation, and dynamic parametric figuration concerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products... addressing the demand for an increased level of articulated complexity... parametricism is the great new style after modernism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation. -Patrik SchumacherParametricism as Style: Parametricist Manifesto

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COMPUTATIONAL INNOVATIONS

week.02

michael hansmeyer: a new order We are familiar with the use of generative grammars, L-systems or other recursive procedural frameworks, such as Roland Snook’s swarm based models that references natural processes or organic structures. What is extraordinary about the work of Michael Hansmeyer is the fact that Hansmeyer does not seek to reference the same processes as analytical tools to investigate nature. Instead, Hansmeyer is directly interested in creating an outcome purely for the purpose of synthesizing and producing ornamentation. In his latest, and most famous work, his structures make reference to the foundational discourse of BAROQUE DETAILING: the architectural order of columns. And yet, his approach is not REDEFINED intended to add criticism or to expand or modulate this disA SEARCH FOR PURE course in any way - he does not intend to seek a modified new ORNAMENTATION order, but rather is interested in its ornamentability. Michael Hansmeyer. “A New Order”. neo-baroque collumn prototype. 2010 Official Website: http://www.michael-hansmeyer.com/projects/columns. html?screenSize=1&color=1 Exhibitions: featured in Gwangju Design Bienalle, Gwangju, 2.9 - 23.10.2011 Self-Structure: Column Protoype at Le Lieu du Design, Paris, 30.9 - 17.12.2011

The fact is, such shapes and such details would be too much to design and comprehend, too complex to process in the human brain. Contemporary computational cultures has provided designers with new fabricatable geometries that is redefining our concepts of ordinary spaces and geometries everyday. With this high level of intricacy and complex geometries, computational tools redefines our senses, the way we respond to our environment, the way we comprehend architecture, and the way we interact with it. "The shapes of Michael Hansmeyer present themselves, as ornamented columns, very self-confidently as the produces of artificiality - even though there is a strong touch of alien organicity proper to them.''- Vera Buhlmann

COMPUTATIONAL INNOVATIONS

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Contemporary computational cultures has also challenged the separate, traditional ways of deigning and fabricating and instead translated them into one process that informs and complements each other. It offers a more competitive edge in terms of generating forms that are never seen before int real-life. Michael Hansmeyer’s collumn has redefined the concept of ornamentation by treating ornamentation not only as something that is applied on top of a surface, but rather, a complex organic blanket of undulating topographical forms that create and form the surface of these collumns.

Hansmeyer has redefined ordinary traditional ornaments: floral, geometrical, life-like illustrations of the ordinary. Instead, he has introduced that ornamentation could be something highly organic in form, and so complex and so beautifully fabricated that people begin to question the abilities of computational design in a positive light.

"The mastering of hi-tech engineering software is ultimately used to produce ornate architectural decoration." - Mark Burry 2

1. Michael Hansmeyer. “A New Order”. neo-baroque column prototype. 2010 2. Michael Hansmeyer. “A New Order”. neo-baroque column prototype. Close up zoom 9x. 2010. 3. Michael Hansmeyer. “A New Order”. neo-baroque column prototype. Tangibility. 2010. 4. Michael Hansmeyer. “A New Order”. neo-baroque column prototype, on display at Gwangju design Bienalle, 2011.

COMPUTATIONAL INNOVATIONS

week.02

fabrication

5. A new Order. Initial intersection with line segments 6. A new Order. Formation of Polygons 7. A new Order. Polygon Filtering and vertex adjustment 8. A new Order. Interior offset/ hollowing out

The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are intersected with a plane representing the sheet. This step generates individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, interior polygon are deleted. then a series of filters are used to hollow out the slice to reduce weight. This method is similar to contouring objects, and is very popular with fabricating complex organic/ blobby shapes in architectural models. What’s important about this, in terms of the EOI, is the assurance that computational and fabrication tools are capable of handling such complex designing and fabrication of forms. The contouring method allows for complex undulating forms and surfaces that has the potential to create particular experiential qualities of being within a space, and as this relates to our main design theme, is something we could explore in more depth in the coming weeks.

integration into eoi Through Michael Hansmeyer’s design the power and advantage of using 3D computational design became evident in so many levels. Conceptually, his initial ideas of ornamentation was later allowed to be informed and expanded by a more complex computer generated form of execution (3D ornamentation), thus allowing him to explore complexly mind - numbing patterns that are far beyond the human sensorial memory to comprehend, and finally- allowing him to manufacture these forms in an automated process that not only saves time and money but also allows a very high degree of precision and quality control in dealing with a massive numbers of fabricated elements. These three powerful advantages answer the previous conceptual demands elaborated through extensive analysis of the conceptual precedents in teh previous week. 1. Conceptually : in order to fully reinterpret, transform and translate an ordinary element from Wyndham, parametric design’s ability to explore and execute concepts in groundbreaking ways will be an excellent research tool that will open up new possibilities. 2. Form: As a gateway and installation that has an ambition to deliver an ‘internal experience’, parametric design will offer the ability to design forms or ornaments that are extra difficult for human memory to process and to rationalize. 3. Fabrication: the translation and rationalization from 3D model into built form that incorporates a process of automated machines that allows high precision and quality control of the outcome.

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a frozen piece of music Architect: Christoph Klemmt

Anisotropia, the design for the new Busan Opera House

Completion date: unknown Published in: Design for Busan Opera House Competition entry http://orproject.com/busanoperahouse/ http://thecreatorsproject. com/blog/orproject-turnsmusic-into-architecture British Forum for Ethnomusicology http://www.bfe.org.uk/2. html Featured in: AA Beijing Winter School 2012 for computational design

This project started with an interesting notion of music and architecture, and how similar they are to each other. However, unlike his earlier predecessor Iannis Xenakis, who composed music for pre-existing spaces and designed spaces to be integrated with specific music compositions and performances, Christoph Klemmt took this idea of merging architecture and music into a further level. With his design for the Busan Opera House, hyh reconfigured a musical piece that he wrote and through the use of computational tools, translated it into a faĂ§ade that wraps the entire opera house in a corresponding harmony of architectural and musical composition. Klemmt has once, and for all, frozen architecture.

(top left) Busan Opera House. rendering of great hall. Cristoph Klemmt, 2011. (bottom left) Busan Opera House Rendering of main theatre hall. Cristoph Klemmt. 2011. (bottom right) Busan opera house floor plan. Cristoph Klemmt. 2011

music into

Klemmtâ&#x20AC;&#x2122;s initial design philosophy revolved around the differences similarities between architecture and music and how he could merge the two. One of the most apparent differences between the two is that architecture eventually manifests itself in form and mass, whereas music is without mass. Despite these differences, he was interested in similar experiential qualities that music and architecture share. At a fundamental level, both architecture and music are art forms that have the capacity to evoke and express emotional response. From a technical perspective, they are both made up of technical or individual components or members that join together to make a coherent composition of elements.

wk contemporary scripting 03 design philosophy

Having been successful with transforming something that is intangible into something that is spatially tangible, Klemmt was then faced with the most important question in parametrics and computational architecture : “How does one incorporate one’s computational concept into built architecture?”. Klemmt does this in a sinuous, philosophical way. By wrapping this ‘frozen music’ around the building mass, Klemmt created a new symbol for art. He has managed to visualize music into built form, the equivalent to making ghosts visible to the naked eye before the age of computational tools. Klemmt hugged and dressed his building mass in this abstract, interweaving waves that not only just represented music, but embodies it. By doing this, he actually took the understanding and discourse of architectural symbolism further. With the help of computational tools, it is now possible to literally manifest a concept that is previously never possible. Klemmt achieved a literal representation of an abstract concept, music, in an elegant and not so mundane way.

However, architects still face a challenge in how architecture communicates to the general public. There has always been a gap between most building’s conceptual starting point, and the public apprehension of such concepts. The general public consensus is that architectural concept and the way public receives them are incongruent. While this incongruency is good in that it lets different interpretations and meaning be projected onto the built work, it also poses the question of whether or not an architectural concept behind the building needed to be communicated at all. Should it be an architect’s job to make sure that his concept, his personal message be communicated to the world? Or should it not concern the architect at all? Does it matter whether or not the public ‘gets it’? And most importantly, will the public ‘get’ this piece of architecture?

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A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.

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They also share a similar way of design representation. Both of these disciplines rely on visual graphics, drawings and annotations to communicate, replicate, and visualize their design, and both have their own codes, systems and rules of representation. The last, and probably most important similarity that Klemmt explored was time. Klemmt was interested in how both disciplines occupy the dimension of time, and it was through this very method that he successfully translated sound into space. In a way, Klemmt transformed the time component in his music into an architectural space.

-Robert Seyfarth The theme of ornamentation is central to this design. And it is important to approach the intention of this ornamental facade critically. The marriage between architecture and ornamentation has had its significant rise and falls. And the public view on how an ornamentation is received is always changing. Ornamentation also brings a central theme of identity, and with it, issues such as place making, or lack thereof.

Klavierstück The musical piece that is behind the conception of Busan opera house facade detail .

wk 03

contemporary scripting design philosophy

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integration into eoi Computational tools have the prowess and ability to materialize concepts that are previously immaterializable.They also have a better control of representing substances that are without real space and volume, in this case, music. With computational design tools comes the powers of representation and with representation comes the reading of meaning, discussion, and possibly self discovery. CRITIQUE TOWARDS THE BUSAN OPERA HOUSE It is curious to note that the architect composed a musical piece in German that isn’t an actual ‘music for the ears’. Instead, Klavierstück I is a piano composition written by Klemmt based on a twelve tone row which is repeated and altered, in order to create complex rhythmic patterns. One can say that this musical piece was created for the sake of how it is meant to appear as a the opera house’s ornament appearance. Once again, this feels unconvincing. Why not choose a musical piece related to Busan, South Korea, as an interdisciplinary twist on site-specificity? Why not take the wonderful concept and use it to enhance the cultural heritage, the cultural treasures and richness of the site and the people? Why not make this architectural concept a driver and beacon for cultural identity of the place? At least then the reasons for the origins of the design would fit with the location of the structure.

Sure, beauty by itself can be wonderful to behold, but in the case of a purpose-built building—a cultural center no less—beauty with a reason is often more satisfying. This project manifests the very meaning of computational architecture and its power to visualize abstract concepts in a novel way. Through the use of computation, the design intent was carefully and beautifully executed: “ Translating and freezing music into built form”. It is successful in pushing boundaries of architecture as a literal means of representation, but a question remains unanswered. Will computational design contribute to a further death of site specific identity and richness? Will it promote site-specific solutions that are embedded within the heart and culture of the local people? Or will it simply be an empty cocoon of form, waiting for locals toi project a sense of identity to it?

Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011

The architectural field is current use of the parametric has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of reference, narratives, history, and forces - Mark Burry Busan Opera house has an amazing concept of materializing music and giving it mass and volume, however, it is still superficial and essentially lacks a design narrative that justifies the form's connection and relevance to its site, making its parametric design outcome more sculptural than representational. In the case of Wyndham city gateway project, extreme effort will be taken to create a design narrative that ties the structure back into the locality, giving more depth and enriching the project, rather than just presenting the board with a sculptural piece that lacks grounding.

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contemporary scripting design philosophy

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VISUALS: Yannick Jacquet (Lego_man) Jérémie Peeters (Shirü) SOUND DESIGN: Thomas Vaquié PRODUCTION: Nicolas Boritch Awards: Selected for Vimeo Awards Exhibited at: Mapping Festival in Geneva (2007); Image Radio, Eindhoven (2007), 100% Montpellier (2008); Yota Space in Saint Petersburg (2010). Scopitone Festival, Lieu Unique October 12-16th, 2011, Nantes, France. Official website: http://antivj.com/3Destruct_v2/ Featured in: http://www.archdaily. com/230425/video-3destruct-scopi-

3destruct is a light installation that uses 'curtains' of see through mesh that are stretched out vertically from floor to ceiling and become the 'canvas' where a series of animated light will dance accompanied by sound. "As the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coherence. Feelings of space ordinary space are revoked and challenged." - Yannick Jacquet

INTEGRATION INTO EOI Design philosophy: Lighting has a certain experiential quality in them. Humans are attracted to light. And with lighting installations like these, what can be implemented into the EOI is the TRANSFORMATION that takes place in a dark, unlit place when it is lit up. 3Destruct tricks the mind to 'unsee' the original forms of the meshes that are used as a medium to reflect the light. In a way, the lights 'camouflage' and 'mask' the forms of these meshes, and people get too immersed in the dynamic light movement to notice the meshes. This visual trick is something that could be a potential avenue to explore in realizing our design concept of making Wyndham a new monument that is not about the form, but about the experience.

tone-2011/

3DESTRUCT

Design Technique: Further research is required on different lighting types and methods, as well as how to control the movement of lighting is needed to incorporate into final design scheme. Choice of materials : Has to have some degree of translucency to let light shine through it. Potential materials : glass ( either structural glass or supported by lightweight framing structure), or laminated clear sheets (supported by lightweight framing structure), fabric mesh (secured in place by methods of stretching/ tension).

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matrix wk.04

opportunity ARP BP CI EG OP SG SN ATP CA IS MF MMF ST US

arbitrary points boolean patterning curve intersections explicit grids overlapping patterns surface grids surface normals attractor point curve attractor image sampler maths function multiple maths function streaming text using sets

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RESEARCH PROJECT: CUT: DEVELOP

matrix presentation style : based on Yyehuda kalay’s search process : depth first - and then breadth wk.04

ddc ddr dde dds gm sm crl

data driven components data driven rotation

In every graphic presentation, the most important question is how to communicate graphically, in the most succinct, effective, elaborate when needed too, and non-ambiguosly. In this case, where the computational design process churns out multiple and seemingly open ended outcomes of candidates for optimal design, it is therefore necessary to lay them out in a structured way - not just for the benefit of whomever designers will present their information to, but also for the designer’s own benefit.

data driven extrusion data driven shading grid manipulation surface manipulation cross-reference list

Integration into EOI Structuring the candidates of optimal design in a more structured way allows the designer to de clutter his or her workspace and thinking space and allows him or her to ‘see’ emerging patterns or values in his or her many, many different candidates. It allows designers to effectively compare, cross check with the different methods he or she used, and make more informed decisions. It is precisely because of this search method introduced in the Kalay reading that proves the competitive advantage of computational tools compared to other traditional designing tools. It can produce so many design possibilities at a click of a button, endless explorations are possible.

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RESEARCH PROJECT: CUT: DEVELOP

general process of search

inputs +

first matrix

variations of outputs

association

second matrix

step 1 creating matrix of input and associations

step 2 creating matrix of inputs and association combined with outputs

combination 1 is explored

combination 2 is explored

solution 1 is found

solution 2 is found

all combinations of inputs and outputs are explored

outputs c

inputs

1 2 3

outputs b c

Since our group aims to create an immersive architecture as an experience, not as form, we have set a few criterias to choose the right candidates for further development using the output techniques. 1. vibrant composition - dynamic, curvilinear, or imposingly different 2. detail should not be too fine

1 inputs

The Matrix of inputs and outputs were explored according to the breadth method, where all possible options or combinations were explored before reviewing which ones could be the logical candidate/solution according to a set of criterias.

2 3

candidates are chosen

The next step after picking out candidates from the first matrix is to recreate another matrix, only using Kalayâ&#x20AC;&#x2122;s breadth first, and then depth method. The selected few from the previous matrix are then plugged into the outputs technique, and this will be the base of the second matrix. These new combinations then will be recombined using different outputs technique, and from these combination, a few will be chosen to be further explored according to a more refined set of criterias that relate to our goal. 1. Must be a form that creates an immersive 2D/ 3D experience: this could be achieved through some form of optical effect 2. Must be low-definition : low complexity and low-details. 3. Must be fabricatable while also: 1. vibrant composition - dynamic, curvilinear, or imposingly different 2. detail should not be too fine

chosen for further development

Arbitrary Points

A S S O C I AT I O N S

Attractor Points

Curve Attractor

Image Sampler

Maths Functions

Multiple Maths Functions

Streaming Text Files

Using Sets

I N PU TS( b re a d t h

Boolean Patterning

Curve Intersections

Explicit Grids

s e a rc h )

Overlapping Patterns

Surface Grids

Using Surface Normals

matrix of output breadth search

W K. 0 4 RESEARCH PROJECT: CUT: DEVELOP

D E D R A C S

ter n i c/ mi gh a yn ou t d g en o n tin es

f ot

ble

ta ica

ter n i c/ mi gh a yn ou t d g en o n tin es

c mu o to

ic br

ble

ata

uc om

ter n i c/ mi gh a yn ou t d g en o n tin es

uc om

ta de

f ot

ble

ta ica

ter n i c/ mi gh a yn ou t d g en o n tin es

ta de

tai

e hd

s ta e c a ill f on - w ect i D ff n 3 cal e i ve ti t. rsi g op gh i e u m n im ovi thro a m ives dr s ate 2D e r - c on ev D on n 2 llusi c mo i i i ve rsi tical ynam e m p d im D o of a a 3 ane pl ent m

Integration into EOI all 2 viable candidates were chosen for their potential to display, 2D or 3D ways to engage and immerse viewers within a particular optical illusionâ&#x20AC;&#x2122;s experiential qualities, which is what our group is aiming to do.

N E S

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matrix of output depth search

RESEARCH PROJECT: CUT: DEVELOP

ci mf dde

ARP ATP DDR Initial condition

Simplification rotation is offset at quite a large distance from initial set of circles

Compressing of space

Initial condition

when degrees of rotation are changed , effects of a dancing fabric like structure is created, even though this is in 2D, it creates the illusion of a 3D environment

the resulting circles from curve intersections input are extruded based on a trigonometrical maths formula,

so next the surface is divided with less segments, and offset distance is further enhanced.

Problems identified

Elaboration on offset and angles this achieved a more fluid and dynamic set of ‘dancing fabrics’

Surface manipulation

Changing angles however, there seemed to be too much detail (too grainy)

Final candidate final candidate is chosen for its dynamic and immersive qualities (3D illusion within a 2D form) with less details (so it won’t be missed during the drive), especially if we could somehow animate this

Surface manipulation

results in a smooth undulation of ‘pipes’ extruded from the flat planar surface. However, as the curvy bit is under the main plane, this candidate might be hard to fabricate manipulating the surface of the main surface plane creates a more dynamic 3D pattern, and will certainly be a more immersive experience, however, there are limitations in the fabrication techniques that we will be using (laser cutting)

Normalized surface + condensed trigonometry curve length further manipulation allows a more structured and ordered composition. Dynamic in a musical sort of sense.

Final Candidate

These final 2 models were chosen on the basis of practicality and fabrication techniques, as well as its composition and performance outcome that directly relates to our design goal : immersive experience

discarded versions of the matrix 1 Computational tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too exhaustive for human brainwork to do.

2 The more parameters you put in, the more possibilities you end up with. The more parameters yous consider in your script, the more diverse your design outcomes could be.

ARP ATP DDc

ARP ATP DDR

ARP ATP DDR CRL

ARP ATP DDE

It is easy to get lost in the fun. This means designerâ&#x20AC;&#x2122;s got to know his or her goals amd when to stop exploring possibilities to make a decision

bp us ddc

bp us ddr

bp us ddr crl

bp us dde

4 Maths function seem to be generating the most outcome, especially if combined with the data driven rotation Association technique gives you the most control over these definition, and also most variations.

ci mf dde

ci mf dde sm

ci mf ddr

sg mf dde

sg mf ddr

sg mf ddr crl

sg mf dde gm

sg nf ddc

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sn st ddr

sn st dde sm ddr

RESEARCH PROJECT: CUT: DEVELOP

integration into eoi With the limited amount of grasshopper definitions that was learned in a short period of time, overall there was this interest to undulating forms and dynamic but smooth curves in the composotion to make an immersive experience. However as our group moved on to learn about other grasshopper definitions and possibilities in forms, it was decided that none of the definitions in the matrix offer the depth and experiential quality our group was looking for. Even though none of the definitions in the matrix is pursued further, this exploration of matrix was necessary to understand the limitations and possibilities within grasshopper.

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De Young Museum [ Herzog & de Meuron ]

The Banq Restaurant

Overall form gives an impression of a prehistoric monolithic structure, especially against the backdrop of the landscape. But on a closer look at the details, it boasts a modern, computationally designed and enabled facades. Technique: These facades were obviously designed with an image sampler as the association technique, and with circles as the outputs technique, which is then developed into perforations and bumps. Performance: The weathered effect, which had been unforeseen proves a nice addition to the whole design. Having experienced this unplanned quality in their work, the architects who made this building will have gained an incredible insight to their next design and these emergent qualities that might come up. It is precisely this that highlights the importance of research in the design methodology.

Hills Place [Amanda Levette Architects] Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building. Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way that they appear almost seamless. In terms of prefabrication, joints are something that architects and designers have to carefully orchestrate so that their design intent comes through to reality without being compromised. Performance: The surfaces with glazing would have captured more water than regular vertical walls. This would have achieved an experiential effect on the inhabitants inside. The choice of materials also highly informs this design decision. Metal gives off a reflective quality that is unachievable with other materials. Only with metal can you get the building facade to almost merge with the color of the sky.

Overall form: Undulating curvilinear â&#x20AC;&#x2DC;contoursâ&#x20AC;&#x2122; that are used to hide the ceiling, the collumns, and engulf the restaurant in a wave of soft Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way that appears seamless wood panels. Performance: This project reinterprets the ordinary flat ceilings of modern commercial developments. The curving timbers are now both ornamentation, identity, as well as the focal point of the restaurant.

Airspace Tokyo [Faulders Studio]

Integration to EOI Overall form: Facade were created from three layers of metal cladding that form an intricate, weaving visual effect. Technique: Voronoi patterning is used to design these three layers of cladding. Performance: The voronoi layering creates a different effect of a confusion between positive-negative spaces/ figure-ground. This difference comes to life during the change between daytime and nighttime. , since the interior of the building lights up during nighttime and transforms the layers into silhouetteâ&#x20AC;&#x2122;s. This building celebrates its facade during daytime, and it celebrates its interior during night time.

Voronoi patterning and layering provided opportunities of multiple readings of spaces (voids and solids) and can potentially create an optical illusion that could be further implemented and explored into our final proposal. Voronoi Patterning can also serve as ornamentation of a surface, as well as a structural element to reduce weight or wind pressure. note: later on the design process, this method was discarded and the method from Banq restaurant was implemented for its richer design possibilities.

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For this we chose to fabricate these panels out of 4 mm MDF boards, so that there is a clear difference between the negative and positive spaces.

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FAB R I C A TION s i x

attempt 1 voronoi patterning : The relationship between positive and negative spaces as an experiment

1. We looked at voronoi as an attempt to explore the experiential or perceptual qualities of positive (the voronoi skeleton frame) and negative spaces (the voronoi cells). [FIGUREGROUND CONCEPT]. We were interested in the difference (or lack thereof ) of the voronoi skeleton frame and the actual voronoi cells. We were interested in looking at the order in which you perceive these two spaces, and the fact that you can’t perceive these two spaces in the same time : do you see the negative spaces first or the positive spaces first? Do you see these panels as a skeleton frame? Or do you see them as holes on a surface? With this concept of the figure-ground relationship we first wanted to try and create some sort of optical ‘trick’ that could immerse people in a new architectural experience. For example, making people see the figure first, and then later making them realize that what they have seen is indeed the ground.

In order to do this, we experimented with photography from different angles, just to highlight the difference of perception between the positive and negative spaces, and also cast the MDF ‘Skeleton frames’ with two different materials, wax and plaster. The cast models were not our actual design goal, but are just an exploration of fabrication technique should we need to fabricate 3D ‘blobby’ forms in the future if we chose to go in that direction. With these 3D cast models, we were basically taking advantage of the negative spaces (voronoi cells) and using those as molds for 3D elaboration of forms

Steps to create molds: 1. The negative voronoi cells on the MDF boards are fitted with hand-formed aluminum foils, with the edges taped and sealed into the boundaries of the voronoi cells. 2. The voronoi plane was added with a mold that are sealed with glue gun. 3.. The mold was cast with wax and plaster.

FAB R I C A TION s i x

VORONOI FRAME UNDER DIFFERENT LIGHTING CONDITIONS

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We decided to break the wax to get it out of the mold. The most interesting thing about this model is the richness of surface texture that it displays. However this level of detail gets lost on once the viewing distance exceeds a certain amount of distance.

The solidness of MDF that does not allow light through creates different ambiences as light was moved around, and almost gives the impression that these photographs were taken with different materials.

VORONOI: FIGUREGROUND RELATIONSHIP EXPLORATION

Figure-ground / Postivenegative spaces:

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FAB R I C A TION s i x

FABRICATION RESULTS: LEARNING

most ambiguous

slightly ambiguous

depth creates disambiguation

slightly ambiguous

depth creates disambiguation

1.Weâ&#x20AC;&#x2122;ve come to a conclusion that figure ground/ postive-negative spaces relationship is at its most ambiguious when both materials/color/ texture of these two separate entities are of the same kind. 2. These kinds of complete ambiguation of figureground/positive-negative spaces are also quite difficult to achieve with a surface that has depth- because lighting conditions would highlight and deepen the 3D qualities of this plane and at once make it be read as other a skeletal frame, or a voronoi cell. Working with different materials:

3D blob volume is offset larger than the mold opening

1. Better design of molds was clearly needed. From the two wax models and one plaster model, only the first wax model was successfully detached from the mold. After being cast, the aluminum foils expanded with the volume of wax and plaster, and were offset off the mold opening. This made it impossible to get the cast model out of its mold without breaking the mold. We should have taken this possibility into consideration

Design intent: 1. Instead of just photographing them singularly we should have tried different methods of layering and changing perspectives. 2. However, midway through experimenting with these voronoi panels, we decided not to pursue them any further because they did not have a rich outcome. NO MULTIPLE READINGS, Stop motion animations showing different lighting conditions and changing perspectives: http://www.youtube.com/ watch?v=FqMQy8rJoMM http://www.youtube.com/ watch?v=Od9ACPZNu8Q Integration into EOI: In the end, our hypothesis of how the material would behave and simulate a figure-ground experience did not really come through. So we decided to discard this technique as our main design technique, and decide to explore other techniques and materials. We might, however still use voronoi on surface as ornamentation, or as ways to reduce the wind load.

FAB R I C A TION s i x

EXPERIMENTATION 2: CONTOUR PANELS

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This time a different approach was utilized in the design. We created an undulating polysurface based on an arbitrary image sampling method.

solid/polysurface

We were not sure of the experiential qualities that can come out of this experimentation, but from the previous experiment we have concluded that MDF boards does not provide us with enough experiential qualities regarding to light and shadow or even texture. This is what led our decision to experiment with a different type of material. We chose perspex because we knew it has light emitting/dispersing qualities. At first we envisioned these panels to frame the highway as cars pass by. And this decision also meant that we needed to find a way to construct a support system for the panels to stand up together.

segregation/contouring

fabrication set out

design of waffles with a 3mm slot to wedge the panels in. the dimensions of the waffles are designed to be interchanged and connected in different configurations. waffle design

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FAB R I C A TION s i x

EXPERIMENTATION 2: CONTOUR PANELS

strips of light projected onto background

partial darkness surface edges light up

strips of light and shadow fall to ground

MOST EFFECTIVE IN DEPICTING SURFACE EDGES LIGHTING UP, FORM OF THE PANELS

very continuous lit surface edges, surface form is lost from this view

lit from below+ BACKGROUND TO CATCH THE SHADOWS

lit from bEHIND

lit from beHINDORTHOGONAL VIEW

lit from below + PERSPECTIVE SIDEWAYS VIEW

lit from below + ELEVATION (EYE LEVEL BELOW THE MODEL

dynamic when static, depth of the layering of panel is gone

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FAB R I C A TION s i x

MOST EFFECTIVE IN SHOWING DEPTH OF PANEL, AND LIT UP SURFACE EDGE

Depending on light source and angle, and also colors of the panel, discoloration occurs.

not fruitful, the seethrough quality of perspex does not bring it out, but instead merges it to the background

successful attempt, , openings disperse more light.

PLANES FLIPPED SIDEWAYS + CHANGING PERSPECTIVES

PLANES FLIpPED SIDEWAYS + LIGHTS FROM BEHIND

PLANES FLIPPED SIDEWAYS + CLOSE UP CHANGING PERSPECTIVE

PLANES WITH VORONOI OPENINGS + BLUE BACKDROP + SLIDING EFFECT

PLANES WITH VORONOI OPENINGS + LIGHTING FROM BELOW

INTEGRATION INTO EOI:

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

It was clear that manipulating the effects of light on perspex and on such complex geometry creates a luminescent effect that is very immersive, almost hypnotizing. From here we decided to use this dynamic lighting in our final design proposal.

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FAB R I C A TION s i x

Light will be a representation of the dual ‘identity’ of the oil refinery plants during day and night.

Stop motion videos of different successful explorations : http://www.youtube.com/watch?v=ecUzYK6Wxhk http://www.youtube.com/watch?v=P9PrQIzcwnA http://www.youtube.com/watch?v=9OB3FgLv_Yc http://www.youtube.com/watch?v=g4JrKmW24yk

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE DEVISED TO CREATE AN INTRIGUING AND MORE EXCITING EXPERIENCE.

TIME SPAN DURING NIGHT TIME

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EOI SUMMARY

Technical Precedents:

The brief asks for a long lasting, eye-catching piece that will represent Wyndham’s identitiy as a new and emerging municipality, and also contribute to the ongoing discourse.

Which identity can be represented? And how does it relate to Wyndham? INSTALLATION ENRICHING INSPIRING

EYE CATCHING

LONGEVITY IMPACT

ACTS AS A PART OF AN ONGOING DISCOURSE

REVIEW

THE NEW IMAGE FOR WYNDHAM

OLD NEW FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE

The old logo represents the old Wyndham, historical, and formal, in almost a conservative way, and the new logo represents dynamism, leisure and modernity. From the difference between the old and recently introduced logo and slogan “ city, coast, country” , it is clear that Wyndham envisions to be a very livable city that has all the potential to be the new recreational hub in Victoria. A place for recreation, getaway, retreat, without missing the hustle bustle of city life.

How does it contribute to discourse:

Parametric design tools are especially advantageous for this proposal because it allows quick experimentation and generation of new forms. It is an inexhaustible research and exploration tool for rapid generations of forms. It also allows the designer better strength in branching out their options with many more varieties and possibilities, allowing them to choose the ultimate candidate that best fits the brief. The next advantageous aspect of parametric modelling is that it has the power to create geometries and forms that are beyond the human brain’s ability to rationalize and construct. It also has far better working memory to process these forms than a human brain’s. Most importantly, parametric design allows the rationalization of these forms and also an automation system of fabrication that will produce exact dimensions and accurate details.

An initial concept that challenges the brief.

Arch de Triomphe, Paris. A classical roman arch that celebrates a triumphant event. The very definition of a traditional, classical monument.

Babiy Yar Memorial in Kiev by Kokkugia, a redefined, INVERTED monument, where not its exterior form, but its interior form is the main focus of the monumental experience.

Conceptual precedents: Through the careful research, analysis and compilation of different state - of -the- art projects, design logic and themes were also compiled to shape the direction of the project. Themes are as follows: - buildings without forms but as environments - immersive in delivering a particularly shocking/ grappling experience - challening mundane everyday concepts

The idea of a traditional monument is being challenged. Monuments rely too heavily on its exterior form. We aim to challenge this notion by intriducing the idea that monuments does not have to rely on its form to be considered a monument. Instead, it should be the experiential qualities of an architectural piece that makes it monumental.

How is it feasible and deliverable? Explorations and Prototyping Through various research methods, several different digital models have been produced, tested against fabrication and material feasibility, relevance to the brief and Wyndham city, and finally realized into model prototypes. Clearly the parametric method we chose was suitable for the chosen fabrication method: laser cutting.

DAY TIME : IMPOSING PRESENCE OF CONTOURS

These prototypes show a very promising prospect in materializing the final design proposal. A rich design effect was produced in teh final prototype, incorporating visual elements such as lighting and surface undulation.

hEVIEW

Details in protoype fabrication has also been carefully thought of as footing structures to prop panels up individually..

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

IDEA OF CONSTRICTION OF SPACE, CREATING A CLIMAX THROUGH THE DRIVEWAY AS A DIFFERENT EXPERI� ENCE

Competitive design advantage Our final design concept incorporates a hybrid approach of not only designing but also researching to advance future design techniques. That has gone through tests of many research steps and has constantly been re-evaluated through meticulous discussions and consultations. As a result, our final prototype has reached a level of significant breakthrough in comparison to traditional non-research design method. Our final concept incorporates a hybrid approach into designing an ‘experience’. It involves time into consideration, and has a different mode (mood) of viewing during the day and during the night. We are offering a hybrid design solution that transforms the experience as the day transforms into night.

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE

TIME SPAN DURING NIGHT

CREATION OF A POLYSUR� FACE TO INHIBIT AND OPEN SPACES

LEARNING SCHEMATIC

REVIEW

CONCEPTUAL FRAMEWORK

understanding architectural discourse

understanding role of parametrics in architectural discourse

understanding INNOVATIONS OF parametrics in architectural discourse

FINALIZED CONCEPT TO IMPLEďż˝ MENT TO WYNDHAM DESIGN BRIEF

FINDING A DESIGN GOAL, INTEREST, CONCEPT

OUTCOME ?

EXPERIMENTAL DESIGN APPROACH

TECHNICAL FRAMEWOPRK

basic rhino & gh interface

developing gh understanding and techniques

GIVEN SET OF TOOLS FOR EXPERIMENTATION

REITERATIONS: PATTERNING EXPLORATIONS

DESIGN CHALLENGE 1

REPRODUCTION AND INNOVATION: PHYSICAL MODEL

IMPLEMENTATION TO FINAL DESIGN: CONSTRAINS OF REALIZATION, FABRICATION, CONDITIONS

Overall the learning experience has been quite messy. The links going back and forth in the diagram above show just how interlinked and inseparable the methods taken were. More importantly, there is the fact that these methods always inform each other, but not necessarily in a linear way, making the design process altogether messier but a richer experience.

key achievements: FABRICATION

key achievements: RESEARCH

Fabrication techniques has limitations. Sometimes using computational tools lets you in on a false notion that everything can be computer automated and fabricated. But really, most of it is still you driving the process. The computer still does not design for you, and it does not think. It merely shows you your thinking efforts, but in the end it is up to you to drive the process and make it happen.

Compared to other design subjects, we are more exposed to fabrication techniques and qualities of materials and what is possible with these material qualities. With our own research that is set at our own pace and direction, we have learned the different properties of materials. The difference between MDF and perspex, and where would you ideally use them, and what effects you can achieve with them.

brief CONCEPTUAL FRAMEWORK

idea

design outcome

tools

The techniques of fabrication , mainly laser cutting are very limiting in terms of the geometries that we can produce. By far the most creative extension we can get from laser cutting is creating molds to achieve a solid 3D form.

REVIEW

One of the most beneficial aspect of this course is that it introduces us to a new design methodology: which is design through research. We were introduced to a complex series of steps that ensures we have the necessary skills and framework before being asked to compile those sets of understandings and skills to innovate and more importantly, learn from your process, critique it during your progress, and learn from your process and mistakes.

Time management is also an important skill in terms of fabrication. As the fabrication resources are limited, we have to work efficiently to get the definitions working to fabricate in time.

key achievements: GRASSHOPPER Learning grasshopper was not particularly easy. I have learned that when scripting it is essential to: 1. do simple things first 2. understand them and learn to do them right 3. add new layers of scripting on top of them 4. package it in simple groups 5. repeat

key achievements: working in groups No other studios have promoted groupwork that goes on for the whole semester. This is both its strength and limitation. Working in groups has been a completely new experience. One learns the balance of not being too imposing and not being too submissive with your ideas and intentions.

REVIEW

We learned that collaboration means better results only if your team dynamics is good. Along the way weâ&#x20AC;&#x2122;ve picked up new team social skills, task management, task allocation, and even leadership and support. No doubt these skills will be needed in the work force later on.

key achievements: DESIGN NARRATIVE A huge part of this course revolves around structuring your arguments and building a coherent design narrative that will give you and your team a competitive advantage to get commissioned to do the project. Making coherent design a narrative and argument requires a synthesis of (technical: grasshopper) knowledge, space, placemaking, deep understanding of the brief, knowledge of Wyndham city character understanding of architecture as a discourse fabrication techniques material qualities implications of forms generated with parametric tools

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FURTHER DEVELOPMENT

Future developmental goals: 1. Lightweight structural material/ frame 2. Real life joints between perspex panels - how this will be achieved, and how that affects the fabrication technique 3. Fitting the light fixtures into the structure 4. Form needs to be â&#x20AC;&#x2DC;invisbleâ&#x20AC;&#x2122; during daylight. To make the monument not abou tthe form and about the experience, some sort of CAMOUFLAGING DEVICE had to be implement-

chosen site: directly adjacent to the entrance to wyndham city. Direct proximity to Wyndham

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WK.09 GH DEFINITION

FINALIZED DESIGN PROPOSAL WHEN PIECES OF THE PUZZLE FALL TOGETHER INTENDED LEVEL OF INTRICATE VISUALLY POLLUTING EFFECT

a method rediscovered INTENDED SCALE AND DIMENSION

AVOIDED 'STRINGY' UNCOHERENT VISUAL EFFECT

This final candidate of grasshopper technique was discovered during the exploration of matrixes in week 4, but was not documented. However, as the search for a final design went on in week 6-8, it was felt that none of the other grasshopper definitions provided the level of intricacy and excitement that this 3D voronoi technique provided, especially in relation to our intended ‘visual pollution’ effect. We felt that this 3D voronoi technique represents our concept of visual pollution best, and yet is also something very different and has a lot of potential as the harbinger of Wyndham’s new identity.

WK.09

translucent panels

translucent fins

111 nd

modern triumphal arch

me te

c 7 vi alc m 7 he cr ul m ig oa at et ht d ed er cl 's s to 12 m ea et a b ra a cc nc ck o es li mo ne d s at an e d

dr iv

ee xp

er ien ce

finalized design The 3D voronoi technique also allowed us to explore material qualities of translucency, which ties into our concept of having a dual identity during day time and nightime (with lights). It also allowed us a complex and immersive tunnel like experience that lets visitors get completely immersed within the designed environment. This is why we designed the gateway to extend 111 meters long. The dimensioning of the arch were also calculated to accomodate vicroad’s setback requirements as well as height clearance requirements.

EXTERNAL / FORMAL MONUMENT THE CLICHE

INTERNALIZING THE MONUMENT THE CRITIQUE/CHALLENGE

The 3D voronoi’s bounding box contains these fins inside a box, which is perfect to represent our design ambition of critiquing the cliched traditional monument and to internalize the experience of the monument. This 3D model will be constructed with a clear but slightly tinted and less translucent panel to conceal or mask the visual surprise inside the gateway.

Daytime and night time view of Qenos Olefins, the biggest oil refinery plant in Werribee.

FORGOTTEN DIMENSION : THE INDUSTRIAL OIL REFINERY PLANT AND ITS DUAL WORLD Wyndham is reaching out to attract investors, inhabitants, tourists and attention. This is why the brief for Wyndham city gateway was introduced. Wyndham is trying to increase the value of its goodwill as a new city that boasts the qualities of living of a countryside and a coastal area. However, most people are not aware of Wyndham’s proximity to industrial zones. Most people are also not aware of the high level of AIR POLLUTION that are polluting Werribee and Wyndham. This high level of air pollution degrades the standards of living around the area and thus - interferes with the condition of WYndham that the city council is so keen to advertise. Pollution is an extremely important issue in Wyndham that everybody decides to overlook. Pollution in Wyndham is generally cause by the smokes coming from it oil refinery plants. Looking at these magnificent structures full of steel tubes and combustion engines, we realized that these factories lead a ‘double life’ throughout the day. While it looks menacing, dirty, uninviting during the day, at night it transforms into a magical display of an entirely different realm, with its mesmerizing lights and steam coming off it. Relating back to our design, we also aim to envision this magical transformation during day time and night time in the gateway.

industrial oil refinery area residential area

WK.09

CRUDE OIL

emotional response

gas naptha gasoline kerosene diesel oil heavy oil residual

WYNDHAM GATEWAY

DISTILLATION COLLUMN

byproduct

FILTERS

VISUAL POLLUTION : A DETAIL

VISITORS

shock comprehension

FILTERS: POLLUTANT

curiosity contemplation

discourse oil refinery system as a design analogy The oil refinery process is a process of transforming a certain raw material through a series of filters and kilns in the distillation column to produce a series of byproducts that has a hierarchical order of usage. Naptha and gasoline for example, are worth more than heavy oil. In the same way that the filters in the distillation columns work, we aim to utilize the panels and fins of the gateway structure to ‘process’ and ‘distil’ the visitors of Wyndham to produce a series of sequential emotional response. However, we will be using these panels and fins as a representation of a local phenomenon - the air pollution.

We will distil the visitors by polluting them inside teh gateway, an environment loaded with visual pollution, both as a critique towards the pollution in WYndham city, and also as a critical answer to the brief. We are delivering an exciting, immersive, iconic experience and at the same time critiquing the local element of pollution that has been widely overlooked in Wyndham.

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

REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS const strategy photos detail photos â&#x20AC;&#x153;aesthetic flair unattainable with more conventional materials,â&#x20AC;? says Steve Thomas, PE, a principal Michael J. Louis, PE, a at Optimum Desenior principal for nasigns Inc., Los tional engineering firm Angeles (www. Simpson Gumpertz & Heger (www.sgh.com), with a growing list of manufacturers competing for at-

TRANSLATING THE 3D MODEL INTO FABRICATION MODE

left image. The new Apple retail store in downtown Shanghai, finished 2012. Made purely out of structural glass and steel fastener components, standing over 16 meters tall. below image. The glass entrance to the underground Apple retail store followed by a spiral staircase made of

A POWERFUL MATERIAL

ORIGINAL 3D MODEL

As the 3D model is made up of panels that does not have any thicknesses, adjustments need to be made to prepare the 3d model for teh rationalization process before unrolling the surfaces and fabricating them with laser cutting technique.

ADJUSTED 3D MODEL

By offsetting the thickness of the panels twice in each direction, a 3D model that represents the real life angle and dimensions is achieved.

PROBLEMS WITH JOINERY

Even though in the 3D model the joints in the panels appear seamless and self supporting, once it is adjusted to fit real life criterias problems with the realities of real world construction and materials begin to emerge. It became clear that in order to maintain the perfect angles, some of the edges of the panels need to be bevelled or milled by a 3-axis milling CNC machine in real life. BUt for the purposes of this studio, the 1:50 and 1:100 physical model shall be joined with glue gun, which has the viscocity to accomodate teh angular joints between perspex sheets.

Even though we chose to build the physical model with laminated clear perspex, we envisioned the final design to be made purely out of a single main material : load bearing structuiral glass. With recent developments in structural load bearing glass, it has become safer and more versatile, giving designers more and more bright sunlit spaces without the necessary structural elements that get in the way.

FABRICATION MATERIALS

Clear laminated perspex were chosen as the material for exploration and building a 1:100 and 1:50 physical model. The reason being perspex sheets best represent our design intent of having a translucent material that can when arranged according to our 3D voronoi design, could create a visually polluting effect and has an entirely different character during night time.

A POWERFUL MATERIAL

right image. Diagrams of the newly patented apple retail design store entrance. It is made of 12 identical bent cold formed structural glass panels.

The design for Apple retail store in Shanghai employs a revolutionary use of pure structural glass, unframed, and without any structural

supporting elements. As an end result of this innovation, a seemingly unhindered clear view of both the interior and the exterior of the structure is achieved. Full beauty of glass, unhindered by its structural elements, can now be seen. Its refractive, reflective, and translucent qualities can now be achieved almost flawlessly in a structurally sound load bearing application. The structural load bearing glass will be perfect for not only ensuring the successful delivery of the our design concept, but also ensure its structural stability and safety. It is a material that will satisfy both beauty and pragmatic needs.

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C O N S T R U C T I O N REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS left image. Undulating canopy ourside Brooklyn Academy of Music, US. Precedent for making a structural complex undulating glass canopy which is similar to what is needed by our design intent. image below. Modulation studies and offset analysis were undertaken for a cold bent curved glazing structural facade using computational physics generator tools such as kangaroo. bottom image. real life structural steel ‘cleats’ that are used in commercial projects may have to be utilized in real life for our project.

ADVANTAGES OF STRUCTURAL GLASS

DISADVANTAGES OF STRUCTURAL GLASS

1. can be safely engineered to 1. Relatively expensive techaccomodate loads acting upon nology it. 2. High maintenance issues 2. Versatile application and costs. 3. Proven reliable track record 3. Condensation issues 4. Availability 4. Movement/seismic joints 5. Most importantly, fits the issues. intended design outcome.

“

Structural glass is the statement of innovation, clarity, and sense of beauty beyond pure materialistic thinking. It shows that this company cares about details, and strives for the best it can offer to its customers. Christian L. Stutzki, PE, PhD, Stutzki Engineering Inc., Milwaukee. Information on structural steel galss taken from AIA Standards : Building Design and Construction Network website

REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS USING ARDUINO LIGHTING Arduinos are smart programmable chips that can be custom programmed or scripted to control including computers, lighting configurations, and even simple robotic machines to create interactive objects/environments.

Arduino Publications : Documnetary on Arduino : http://designplaygrounds. com/tv/arduino-the-domcuemtary/ Firefly+Arduino research network : http://www.fireflyexperiments.com/links/ Lift architects (arduino and other interactive projects): http://www.liftarchitects.com/

ARDUINO APPLICATION IN REAL LIFE Arduinos are now commonly used in a wide range of things, from the mundane LED shopfront running texts, toys, to complex biomimicking parametric installations. Arduino has the unique ability to take a data input from one source: e.g kinetic movement, video feed, audio tones, etc that could change as the intended subject interacts and changes this input, and combining it with a scripted pro-

gram from processing programs such as firefly and grasshopper, Arduino will process this ‘interaction’ and give feedback to the interactor in possibly a different form or gesture.

images above : applications fo arduino : piano without piano, responsive parametric skin

HOW ARDUINO WILL HELP OUR DESIGN

Arduinos are definitely a viable option to explore for further design research for our night lighting scheme. WIth the help of arduino, a system of motion sensors could be installed at specific points inside the gateway that will detect cars passing through them. Then, through firefly, a script could be written to control the configurations of the light ‘show’ at night, so that teh light show will not be some imposed ‘show’ designed by the designers, but rather, something that the drivers design for themselves, unknowingly. This will create a sense of intrigue and curiosity as the lighting configurations will most likely not be predictable by the drivers and visitors or will appear to have a seemingly random configuration.

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C O N S T R U C T I O N CONSTRUCTION DETAILING DIAGRAM

1 attached LED lights to a LED control panel which allowed different configurations of dynamic light moving through the strip of led llights.Fixed below the structure.

2 3D model divided into 16 different sections to simplify fabrication process 3 blue els (3mm)

perspex as outer

shell

panwalls.

4 blue perspex panels (3mm) as outer shell roof ( in reality might have tio be fabricated by several different components as it is impossible to span the whole length without jeopardizing the structural integrity)

8 1

5 clear perspex panels (2mm) as main material for all the visual pollutant fins.

6 triumphal arch where cars shall pass unobstructed. 7 panels secured together with metal celats bolted into both sides of the perspex and fabricated accordingly with each angle of each connections points. 7 example of a connection point that will need to be reconsidered to be fabricated using a CNC 3 axis machine.

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F A B R I C A T I O N s t r u c t u r a l

d e t a i l s

1. 1:50 scale model showing joinery points with metal cleats. Glue was used instead of bolts because the perspex sheet is too brittle to hold bolts. However, in real life construction, bolts will be used to secure the cleats.

1. dries fast - reduces model making time and efficiency

1. Hard to control amount to apply to surface

2. viscous and versatile - easy to apply allows good time for application

2. needs extreme dexterity to get the edges glued together neatly

2. LED light strips embedded into the cardboard base of the 1:100 model. (assembled by Tim Nguyen)

3. the thickness of glue guns actually accomodates the tricky joinery points where the panels butt against each other in odd angles.

3. the elastic nature of glue gun even when its dry acts more like movement joints / sealants rather than fixed components. As a result accuracy of the model is a bit off.

4. Two different kinds of metal cleats fabricated by Tim Nguyen

s e t

u p

clockwise from top left image. 1.experimentation of manual etching on clear laminate sheet as a base for photographing model. Once shone with light from underneath, it lights up and creates a glowing effect under the camera.

2. this etching is used to etch road outlines under the model. 3. large sheets of tracing paper are used to diffuse the lighting in the background and soften the lights that fall onto the model

p a i n PAINS:

3.detail joinery points.

p h o t o g r a p h i c

g u n : j o y f u l

JOYS:

clockwise from top left image.

g l u e

4. Easy to clean if glued mistakenly.

4. sloppy. extremely visible.

HIDDEN BEAUTY

EVEN THOUGH THE INTENDED VISUAL EF� FECT WAS MEANT TO BE A VISUAL POLLUTION, A HARSH, INCOMPREHEN� SIBLE COMPOSITION OF GLASS PANELS, INSIDE THE TUNNEL, THEY REVEAL A SOFTER, A BLURRY AND SUBTLE EFFECT THAT IS VERY BEAUTIFUL..

epi logue

FUTUR E WORRY

PARAMETRIC DESIGN : THE GOOD GUY? OR BAD GUY? Parametric design encompasses a huge array of terms, concepts, approaches and techniques, and produces an equally vast amount of interpretations, reactions, successful forms, critiques, and innovation. For what it’s worth, I think Parametric design is neither the good guy nor the bad guy. It is just the NEW GUY, all fresh and inspirational, with a lot of talent and potential to offer, but radical, and simultaneously waiting, yearning to fit in the harsh conservative nature of the PRESENT GUYS. The problem with parametric design is that the tools being used are extremely foreign, extremely divorced from anything us as humans and architects were used to creating with, dealing with, and reacting to. Parametric design is probably the single furthest leap from historical or previous architectural styles that mankind has ever encountered so far. It almost has no predecessors, no parents, noone relatives or family to relate back to the FAMILIAR. This is why parametric design is so debatable and make a very interesting discussion as a part of the present architectural discourse. Since it has no predecessors, people, architectural historians, student, researchers find it difficult to justify, relate, or even explain their projects and what they are capable of. Beauty or success in architecture is extremely relative. Is architectural success just measured by its beauty? Is it its pragmatism? Is it both? Is it not both? Is it monetary gain? But like everything else in the world, I believe sucess in architecture is determined by the zeitgeist of the age. It may take a while longer for parametric design to be fully accepted as a design era, a design zeitgeist by public, but let us not forget that all historical architectural styles that have come before parametricism has undergone the same ‘initiation ritual’ prior to it becoming an official ‘movement’. It takes years to realize a true value or beauty in design. It takes even longer to let the effect trickle down and influence the greater public. Parametric design may be as mysterious and incomprehensible as the beginning of life. no one knew how it came to be, or whether or not it has clear connections to the past, but I feel that it will truly be the great father of many futuristic designs to come. We are at the beginning of parametricism. We have a once in a lifetime chance to embrace this new guy, let him in, because as the first generation of parametric children, we have the opportunity, and the chance, to define the future.

There is a huge difference between learning the how to script and understanding how to to utilize scripting. It is futile to only understand one of them, unless you work in groups, where strengths can be combined. I am now loeaning slightly towards understanding how to utilize scripting, but a bit hazy on the actual act of scripting. Something that worries me heaps, looking at the successes and progress my other peers are making. I started off at the beginning of the semester completely sceptical of scripting, thinking it was a mindless job and that anyone could do it. I am particularly interested in architecture as art, as a product of a trained intuition, sharpened by years and years of training. I always believed architecture was a product of men. A very romantic and sentimental thing to believe in, but I find it only appropriate, that parametric tools are cold and machine -ike and should be left untouched by humans. Throughout the course, however, I realized that even though everybody can ‘use’ parametric tools, only a select few can successfully execute and justify their work, only few emerge with very different forms or brilliant concepts. With this I was proven wrong, there can be innovation in parametric design, even though there is a strong tendency to choose certain styles or techniques. However, I figured that I am content with not being too masterful on scripting techniques. From the experience of working in a group of three, with one group mate being the able scripter, and the other being the follower, I find that most of the time, it was not the ability to script that will drive or lead the project, but the underlying concept behind it all, the message we want to communicate, the intended outcome, which was mostly my contribution to the group. Having said that, my team mate also helped edit some of the concepts as they were usually wild and unrealistic when they started out. I can’t help but thinking that this subject is highly conceptual though. Which is a normal approach in architectural universities. I could not help asking and thinking though, what will it be like out there in the world? Does having a brilliant concept and an equally brilliant execution going to secure success the success of the project? Most of the concepts or justifications that my group and a lot of other groups came up with seem a bit too superficial or too ‘architectural’ to me. It’s like architects live in their own world with their dreams and concepts that they envision but the public will never relate to. Architecture now seems like a very perverse discipline to me.

BENEFITS AND REFLECTION This course has by been, by far, the most challenging design studio that I have ever undergone. I have hit so many blocks, so many frustrated moments to nail this thing and find the answer at the end of the road and failed. And this does not happen often. Design studios are usually the most fun subjects in university. I would usually enjoy my time slaving away, hand drawing my final renders and enjoying good marks at the end of the semester. With this subject, I was completely thrown off my comfort zone, so far from everything I knew and excelled at. At times I believed I was too emotionally involved in the subject and therefore had problems accepting the fact that I was not doing as well in a subject that I usually excel at while my friends who are usually not doing so well excelled. It has been an arduous semester, but I have learned something priceless. I have learned to be passionate and yet ambivalent at everything now. You canâ&#x20AC;&#x2122;t always be on top.This project has grounded me. And made me embrace my own limitations and keep my expectations at bay. I have learned to deal better with disappointment and pressure and not to be too harsh on myself and just keep on trying. I am confident that I can continue talking about what else I have learned in the subject for hours and hours, but let me close off the journal with one final statement.

My architecture journey does not end with parametrics.

A N D D O W N T HE R A B B I T H O L E W E T U M B L E F U R T H E R .................

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