Studio Air S1 2012 | Gerard Turnbull

ABPL30048 design studio: air Gerard Turnbull 537457

Contents Part 1 | Expression of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Precedent | Body Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Precedent | C Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Precedent | AAMI Stadium . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Power of Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Scripting and Inventiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Precedent | Genetic Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Exploring Inputs, Associations and Outputs within Grasshopper . . . . . . . . 11 Project Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Contextual Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Cultural Significance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Case For Innovation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Dynamic Movement Exploration . . . . . . . . . . . . . . . . . . . . . . . . . 20 Initial Design Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Developing Ideas within Grasshopper . . . . . . . . . . . . . . . . . . . . . . 22 Material Exploration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Prototype Fabrication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Animation in Rhino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Part 2 | Project Proposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Design Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Design Limitation Calculations . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Overall Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Panel Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Focusing the View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 The Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Modelling in Grasshopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Piecing it All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Fabrication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Part 3 | Learning Objectives and Outcomes . . . . . . . . . . . . . . . . . . . 46 Personal Background and Learning Progress . . . . . . . . . . . . . . . . . . 48 Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

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Part 1 | Expression of Interest

EOI

Expression of Interest

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Body lamp, Gerard Turnbull, Melbourne, 2011

Precedent | Body Lamp

Wing Velocity

Wing Velocity

This Virtual Environments project involved the design and fabrication of a body lamp. The design was inspired by the natural mechanics of insect flight. The fin depths and positionings are proportional to the insect wing speed during a stroke cycle.

Degrees about centre of rotation

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Radius from centre of rotation

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90 Degrees about centre of rotation

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Wing Velocity (Fin Depth)

The mechanics of insect flight was studied from captured slow motion video. The three dimensional movement is very complex so it was decided to be broken down in to the 2D motions captured from the top, front and side parallel projections. The shape was derived from the 3D space created around the boundary of the wing movement over an entire cycle. The speed at any point on the wing within a complete cycle is dependant on two variables; the angle of the wing and the radius with respect to the centre of rotation. Graphs were drawn to give an estimation on the varying wing speed depending on these two variables.

This was shown visually on the model by the varying depth of ribs which depended on the speed at that point. The faster the wing travelled at that point, the larger the rib depth. The attractor points were positioned at locations of maximum and minimum wing speeds. The fins overall depth indicates the wing speed at any particular location during the cycle. The fins that are spread further apart are deeper than the fins congregated together. This increases the structural capacity of the design. The model’s visual appearance gives a very good representation of the fire flies wing movement. From the completed model it is evident that the curvature, depth and spacing of the fins directly relate to the wing position and speed.

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The use of Rhino software gave the capabilities to design and model the lamp efficiently and accurately.

Contemporary architecture utilizes process-based approaches through today’s technological advances.

One such approach uses simple mathematical geometry such as spheres, cylinders, torus, lines circles and eclipses. Although the geometry is simple, complex double curved structures can be created using 3-D CAD NURBS software. This type of process has emerged just in the last 15 years.

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This project has demonstrated the advancing architectural discourse by taking something physical, modelling in virtually, manipulating the design with the use of association techniques and then fabricating the end product with the use of computer aided manufacture (CAM).

Precedent | C Wall

C Wall, Banvard Gallery, Andrew Kudless, 2006.

Andre Kudless specializes in complex geometry, digital fabrication and the use of voroni algorithms. Using voronoi algorithms, he has explored areas of design using cellular honeycomb aggregate structures. This tool uses digital particle simulations and other point based data to be transformed in to volumetric cells which can be unfolded, manufactures and assembled in to a larger form.

This precident has demonstrated that complex geometry generated with the use of computational software can be used to produce aesthetically pleasing wall structures.

Precedent | Australian Timber Truss Industry

An example of a fabrication process that uses digital models is evident in the Australian timber truss manufacturing industry. The process first involves an architect that creates the initial designs and housing plans of the roof shapes. Roof truss designers take the house plans to map out the roof shape in a layout. Engineers can then use 3D CAD software to map out every truss location and shape on the layout. The software is then capable of structural designing every truss member and connector plate. With all the truss member materials and sizes known, the digital information can be sent to machinery in a factory to cut and position the timber members for fabrication. All the assembly information can be printed for factory workers to use to assemble the trusses. With the trusses fabricated, they can be transported to the house construction site and are erected easily.

Similar to this assignment, material restraints must be taken in to consideration for accurate and correct fabrication. Digital representation uses very accurate design tools. However, real life fabrication uses materials that are not exact. There are natural uncertainties that cause minor discrepancies within the fabrication process.

Some of these may include the natural bowing effect in timber as well as inaccuracies caused from cutting and joining the materials. In order to combat these natural uncertainties, design factors and tolerances are taken in to consideration. Our project uses exact digital representation. Therefore there will be natural discrepancies depending on the materials chosen.

Most building forms are separated into two separate elements; the structural element and the skin element. This mode of thinking has been recently evident during the digital age. “By defying the binary logics of the Modernist tectonic thinking, structure and skin are re-unified into one element in semi-monocoque and monocoque shells, thus creating self-supporting forms that require no armature.�

(Kolervic, pg 8)

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New Tamayo Museum windows, Rojkind Architects, 2009

Rojkind Architect’s tessalation designs by creating panels with “windows” to capture lighting effects from the LEDs.

Precedent | AAMI Stadium

The AAMI stadium was designed by ARUP in Melbourne during 2010. The stadiums design and construction made use of contemporary computational scripting techniques. The entire structure was modeled symmetrical about four quarters. The entire geometry could then be altered in real time. This allowed the analysis of structural components quick and efficient, dramatically saving time and costs. The computational analysis of the structural system allowed less “over engineering” which ultimately resulted in 50% less steel material costs (Arup, 2012).

Software was not only used for structural analysis but also to simulate the behaviour of spectators moving throughout the structure, reducing bottlenecks and optimising safety.

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The Power of Scripting Scripting is the use computer programming at several different levels, allowing the user to adapt, customise of completely reconfigure software. Coupled with parametric modelling software, this creates a very powerful tool for parametric designing and visualisation.

Scripting combined with emerging affordable prefabrication techniques improves turnover time for prototypes and projects as a whole. It is improvingly useful for effective building delivery and general framework of construction economics. Scripting achies lower production costs, rather than any more sophisticated motivation, as it is more for commercial aspects of practice rather than a design tool. Scripting allows designers to have more control over their design in some respects.

“Endless repetition and variation on elaborate geometrical schems with no apparent social, environmental and technical purpose whatsoever.�

(John Frazer)

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Scripting and Inventiveness “I think most scripters are trying to produce effects of complexity. These effects become less and less complex and interesting as they become more and more known. Corporate offices have scripters pumping out patterns for them.” (Michael Meredith, MOS) The scripting culture is considered very “open source” compared to the traditional Architectural culture. This results in scripters cloning from one another and propagating from other people’s inventions. The wealth of knowledge and ease of access has dramatically increased the development of new designs strategies and approaches. This has further resulted in designs that lack fundamental architectural principles. There has been an emergence of style over substance. This has raised some questions of my own: Who is then fundamentally inventing these new strategies and approaches?

Does design appreciation increase with complexity?

Is it better to continue this open source approach or use a more conservative one?

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Precident | Genetic Star Calipar studios digitally designed a staircase using CAD programming software. They were able to enter set design restraints and let the computer create a randomised formation. From these designs, they were able to use the software to perform structural analysis in order to determine the most suitable design. This made it very easy to change design restraints and compare different results. This also helped any problems discovered during the fabrication process. They were able to digitally print cutting templates to ease construction.

Similarly, Grasshopper allows real time parametric changes which can automatically updates surfaces that have had their defining curves and points changed. This makes working with digitized models very efficient. You can easily change an initial design restraint without redrawing the entire model from scratch.

Using the “unfold� tool, digital template printouts will aid the fabrication process.

Perspective View Genetic Star, Calipar studio, 2008

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Exploring Inputs, Associations and Outputs within Grasshopper

Input: Curved Surface

Input: Curved Surface

Association: Remapping data using multiple attractor points

Association: Remapping data using multiple attractor Curves

Output: Hexigons with varied size

Output: Hexigons with varied size

Input: Curved Surface

Input: Curved Surface

Association: Remapping data using image sampler

Association: Remapping data using math function = sin(x^2)*y

Output: Hexigons with varied size

Output: Hexigons with varied size

Input: Curved Surface

Input: Curved Surface

Association: Remapping data using Text File

Association: Remapping data using curve attractor and sets

Output: Squares with varied size

Output: Circles with varied size

Input: Curved Surface

Input: Curved Surface

Association: Remapping data using an image sampler and data driven components

Association: Remapping data using an image sampler and data driven extrusion and radius

Output: Curves with varying size and orientation

Output: Circles with varied radius and extrusion

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Project Overview The Wyndham City have invited submissions for the creation of a Western Gateway Design for city bound traffic on the Princess Freeway. Wyndham City requires the design and documentation of an exciting and eye catching installation. Art within Wyndham has become woven into the fabric of everyday life and a central thread connecting people and place.

Flat and wide open landscape

The Design Challenges • Significant Impact • Exciting • Eye Catching • Inspires • Enriches the Municipality • Prominent Entry Statement • Enhance physical environment • Abstract • Longevity • Encourage further reflection • Explores Motion/Change • Innovative for it’s time • Key View Lines • Aspirational intent • Accessible to the wider public • Place-making aspects and qualities • Arrival Experience • Identifier for the Municipality • Iconic Scale and presence • Encourage a sense of pride within the local community • Propose new inspiring brave ideas, generate

new discourse

Site C : Too small after 13 clearance taken into consideration High speed movement of traffic

Ideal position, Flat ground, visible directions, safest position

Key Considerations • Primarily viewed by motorists at high speed.

• Indicate arrival in to metropolitan Melbourne.

• Location must relate to large scale service

center and signage.

• Dialogue between sculpture and landscape to

compose gateway • Abstract • Daytime and Night time viewing • Safety, ease of maintenance, materials and longevity

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Site Map (Google Maps, 2012)

Site B: Imposing service centre and signage, only suitable for city bound traffic

Positioning may cause hazardous distraction due to location of merging lane.

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Contextual Framework Wyndham has experienced the largest and fastest growth in all Victorian and is the third fastest growing in Australia. It currently has an enormous 7.1 per cent annual growth rate.

The surrounding watercourses and wetlands provide a haven for tens of thousands of birds thanks to a variety of landforms, the permanent water supply and lots of different tree and plant species. Some of these areas are of international significance due to migration patterns.

Site Location

Site Map (Google Maps, 2012)

To Geelong

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To Melbourne

Region Analysis • Natural Features • Cultural • Historical • Werribee River • K Road Cliffs • Point cook Coastal Park • Heathdale Wetlands • Werribee Park Mansion • Werribee Open Range Zoo • National Equestrian Centre • Melbourne Water Western Treatment Plant • Victoria State Rose Garden • RAAF Museum • Cobbledicks Ford • Market Gardens farming area • Helen Lempriere National Sculpture Awards • Sculpture Walk at Werribee Park • Flat and Wide open landscape • Highspeed movement of traffic • Imposing service centre and signage

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Cultural Significance One of the core client aspirations involves the link to site heritage. To achieve this, the design incorporates link between the previous owners, the land are the Wurundjeri people. Exploration of aboriginal patterns and shapes all well as representations of birdlife was researched.

The pattern design focused on birdlife representation to link with the important surrounding regional wetlands and water courses. In particular, the brolga bird patterns were chosen as it is listed under Victoria’s Flora & Fauna Guarantee Act and is considered vulnerable in Victoria.

The brolga bird was considered an important animal to the Wurundjeri people as it played a role within dream time stories.

“Long ago, when all had been made but was in total darkness, Brolga and Emu disputed as to the need for light in the world. Brolga said no, things were fine as they were. Emu said the animal people were forever bumping into each other and were unable to find their things when they had put them down. Brolga got very angry and clipped Emu’s wings, making her a flightless bird. Emu avenged herself by tossing a brolga’s egg into the sky. The egg exploded and became the sun. Now everybody can daily admire the beauty and colours of the great work of the Sky Father.”

These intricate patterns were then explored parametrically within Grasshopper. These outcomes were achieved A combination of patterns using components such as cull patterning, image sampler and a variety of varying formulas.

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Bird feathers were also analysed in depth to discover further intricate patterning. These patterns were replicated within Grasshopper parametrically and further explored.

These intricate patterns were then explored parametrically within Grasshopper. These outcomes were achieved by using attractor points and vector components.

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The Case For Innovation

McCormick Tribune Campus Center, Rem Koolhaas, 1 The McCormick Tribune Campus Center was designed by Rem Koolhaas in 1998. Throughout the interior a multitude of unique materials are used, including wire mesh between panes of glass that bends light, wall coverings that create the illusion of movement, and translucent fiberglass with a honeycomb core for walls and tabletops. The perforated panels designed to focus on views was of particular significance. This idea was taken and reverse engineered using Grasshopper. The case for innovation that we propose uses this technique with the added element of animation.

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Graphic designed used on the partiition and external glass wall were based on the international symbol for a human, with large scale graphics in some areas and, most strikingly, portraits comprised of the miniature symbols describing the different activities taking place in the building.

This was reverse engineered by taking a grid of points and associating a curve to each point. The curves were drawn in a way that resembles a bird in a variation of positions. Using the grouping component, the curves were assigned a numerical number within a range of 0-1. By using the image sampler, the curves could then be positioned depending on the points contrast value.

This can be illustrated below with a variety of different images.

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Region Analysis

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Dynamic Movement Exploration

A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures. The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across.

The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion.

A linear zoetrope can be created if the viewer is moving parallel to a series of static pictures.

This idea was explored further with the use of grasshopper to extrude circles at varying depths dependant controlled by a pictures contrast.

The result shows a variety of visibility depending on the possition of the viewer show in the figure below.

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Initial Design Ideas

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This illustrates the first exploration for the form of project.

The idea of linking with the surrounding birdlife gave way to the use of a feather. The shape of the feather fits neatly on to the length of the site while maintaining a more intricate framework that could be utilised for the dividing of the zeotrope. A full model was created with the use of Rhino and grasshopper which is illustrated below, This form was then later reduced in scale while taking in to consideration further links with Wyndham city.

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Developing Ideas within Grasshopper

Initial exploration of extruding surfaces to determine the best visual focusing effects. These models demonstrate circles that are extruded to a vector point. As can be seen, the bird is only visible at this exact point. This

These series of pictures depict stop motion animation with the use of the Rhino animation tool. The visual effect shows that the bird id only visible at certain positions. This proves to be a good effect, however, it is only effective at a given height. For higher vehicles, such as trucks and buses, the effect would be lost.

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Circles extruded perpendicular at a distance of 3m

Circles extruded perpendicular at a distance of 2.5m

Circles extruded perpendicular at a distance of 2m

As well as considering the height of the viewer, the distance the viewer is positioned from the screen needs to be explored. VIC road regulations state that the structure can not be built closer than 13m from the road. These camera positions show the view from the left lane which is at a distance of approximately 16m. The distance of the extruded circles could then be adjusted to determine the best effect.

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Perforated Screens Considering the huge amount of material that would be required to construct a 140m long wall with extruded pipes, alternative less material intensive methods were explored. This included substituting the extruded circles for a series of perforated walls. The grid sizes were changed as well as the diameter of the circles to determine the best effect. Different surface topography was further explored in order to derive the most effective visual effect. The idea was to maximise visibility of the center screen while trying to block out the neighbouring screens.

Double Screen - 10x10 Grid - 100mm Dia Circles

Triple Screen - 10x10 Grid - 100mm Dia Circles

Triple Screen - 10x10 Grid - 100mm Dia Circles

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Material Exploration

Polished Steel - Expensive option but it will create longevity of the project. The reflective properties will enhance the visual effect when looking directly through to the animation panels.

Aluminium - Similar properties to steel with less reflectiveness.

Glass - Glasses refractive properties will give an interesting illusion, however it will not create enough contrast to make the animated panels stand out.

Plastic - The use of plastic is a much less expensive option. However, the longevity of the project would be at risk. The desired plastic would need to have properties to stop it deteriorating from sun exposure.

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Prototype Fabrication Physical prototyping is a very important aspect of the design process. The prototypes allows direct identification of possible problems and the effectiveness of the proposed designs.

The first model was manually fabricated without the use of grasshopper. It involved glueing a series of straws with varying lengths in rows. This was a simple way to create and test the desired design. This prototype proved to be quite effective. By taking pictures in certain locations, you can easily see the effect of the extruded straws. Depending on the position, there is a range of visibility through the straws. The closer the distance between the camera and the model, the smaller the focus area.

The prototype also demonstrates the effectiveness of the oscillating curve in the horizontal direction.

The second prototype was fabricated with the use Grasshopper and the laser cutting from the Fablab. The model was design at a scale of 1:20. It consisted of two walls, with circles to be cut out with a diameter of 5mm. This allowed straws to be positioned through the holes while giving the freedom of movement. This let the straws be extruded at varying lengths and enable a series of trials to find the most appropriate forms.

A series of panels with varying patterns were also lazer cut at a scale of 1:20. by placing these angles in front of the prototype we were able to see the effect of contrasting patterns and theit effect on visibility.

From exploration of prototypes, we decided the most appealing form was a wave having a period of approximately 10m. The first prototype required more straws but the close positioning maximised visibility through to the other side.

Animation in Rhino The animation tool within Rhino allows a series of images to be created. If the distance between the start and end of the animation is know, each image can be displayed for a calculated amount of time. The images can then be stringed together to give a realistic animation of the view from a passing car at 100km/h.

The animation provides quick and effective feedback when exploring design decisions in relation to the visibility and overall effect of the design.

These two strips of images illustrate the exploration of screen form and screen patterns.

The strip on the left shows the design with out a front screen while the strip on the right shows a front screen with perforations.

At first the animation depicts a bird in flight

The birds morphs in to a W depicting Wyndham

This morphs into the M symbolising Melbourne

It then morphs back in to the bird in flight

Part 2 | Project Proposal

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Design Overview The overall design is based on a linear zeotrope that creates an animation passes by. In order for the design to show an effective animation, there needs to be some design considerations. The design is made up of several different elements which include:

The animated object.

This is the primary focus for the viewer. It is a dynamic form that changes over the period of viewer engagement.

The Panels.

These are used to focus the viewer on to one specific point

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The dividers.

These are used to space out and separated the frames in order to create the illusion of movement.

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Design Limitation Calculations

The gateway audience will be travelling by in vehicles at a speed of 100km/h. This is equivalent to 28 meters per second.

A Human eye has the cap animation from still image of 10 Hertz.

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The duration of the animation should be no longer than 5 seconds as not to create long distraction for drivers. Any shorter time would not give much of an experience animation.

Given this, the distance travelled by a car at 100km/h for 5 seconds is 140m. This gives the overall length of the design.

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pacity of depicting es that change at a rate

2.8m

This means that for a person to see the animation travelling at this speed, the frames will need to be spaced at a distance of 2.8m.

0m

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Overall Form

The overall form of the gateway was derived from a number of influences. One of these included the Whyndham city logo. The long waves demonstrate the importance of the waterways within the local area. The triangles found on the final form not only resemble the sails of a boat but also illustrate patterns found on feathers of the birds native to the Heathdale wetlands.

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Triangular dividers used to break up the 50 frames

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Streched to match the flatter surrounding topography while maintaining a link with the horizon line of the You Yang Ranges National Park.

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Aboriginal Depiction of Birds

Pattern Exploration

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Grids created in Grasshopper

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2 Panel Design

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The design of the panels was based on different aboriginal depictions of birdlife. The patterns used in the paintings were digitized as grids in grasshopper. The gridpoint where then used for the creation of veronoi patterns. Using vector tools in grasshopper the veromoi patterns transition from one set of grid points to another. This was used to create an interesting dynamic effect over the length of the gateway.

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Focusing the View

In order to meet the client’s aspirations, the safety of the drivers need to be considered. To change the direction of view, the dividers were rotated at an angle of 45 degrees. This keeps the drivers eyes on the road wile still allowing the driver to experience the animation.

The Veronoi patterns used for the 50 panels were extruded 500mm on a 45 degree angle in order to focus the view. The viewer can only see through the screen at a particular angle.

This enhances the animation effect while decreases the drivers distraction from views other than through the windscreen.

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The Animation

The animation depicts a bird in flight. This reference was chosen for a number of reasons. It has strong links to the native birdlife that migrate to the surrounding watercourses and wetlands.

It also gives reference to the migration of people to Whyndham City. Whyndham city is currently experiencing the largest growth rate within victoria. As the animation develops as it progresses along the site, with the number of birds increasing as well as the height. This resembles Whyndhams string growth. The birds are made up of solar panels fastened on to steel columns are varying heights and angles. The collection of solar energy is then used at night to light the gateway in a sustainable way.

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Modelling in G The Positioning of solar panels and angle directed towards sun

Line inputs

Structural Frame

Structural Columns

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Grasshopper

Structural Columns

The use of grasshopper to model the design parametrically allowed a powerful and easy way to explore and experiment with variations in design parameters.

The geometry inputs were no more than lines that shaped the length and profile of the gateway. From the lines inputs, the solar panels, dividers, screen panels and extruded veronoi patterns could all could be positioned accordingly.

Variable sliders could then be adjusted to control every variable, including the frame spacing, solar panel angles, degree of oscillation, veronoi grid, extrusions, transition points etc. This flexibility allowed me to try hundreds of design variations in order to discover the most suitable. The animation tool in Rhino could then be used to model the view from a car travelling at 100km/h and immediately understand the effects that each design variation had on the gateway.

Divider Positioning and shaping Whole Model Geometry Output

Veroni Patterning 1st Transition

Veroni extruding

Veroni Patterning 2nd transition

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Piecing it All Tog

Structural Framing

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Panels

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Dividers

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Solar panels

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gether

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Fabrication After previous manual fabrication techniques were explored we decided to experiment with laser cutting to fabricate our models.

1:20 Model This was a model of a panel section. The section was taken from modelled geometry in grasshopper prepared for laser cutting. The pattern was laser cut on 1mm ivory card using 20 layers. It was then glued together in such a way to represent the extrusion on a 45 degree angle . Apart from the cost (I took 1.5 hours to cut on the laser cutter) the end result was very successful. It demonstrated the visual effect and focus point was exactly as desired. This can be seen in the stop motion animation below. It illustrates that the viewer can only see through the screen at a particular angle, focusing on the seen behind it.

1:50 Model This model was of the entire gateway. Again, the model was developed in grasshopper before being prepared in rhino for fabrication. The material that was used was 1mm ivory card. After laser cutting, the model was constructed in order according to the labelling. The construction process highlighted the importance of the structural piping. Without it, the dividers could not be laterally supported correctly and the structure would fail. It was also great to see that the dividers worked as intended. By moving along side the model, it was possible to see how effective the animation was.

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Part 3 | Learning Objectives and Outcomes 48

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Personal Background and Learning Progress Designing with computers Over the previous 13 weeks I have been exposed to a steep learning curve for both Rhino and Grasshopper. I have found this rather challenging but at the same time I have enjoyed opportunity to use such powerful programs. With the use of the cut examples and the tutorials on LMS, I was capable of exploring different grasshopper definitions in relation to my project design. Through these tools I was able to fabricate prototypes which led to direct feedback and modification os the digital forms.

Communication Visually I have learnt the methods of exporting images from rhino using vector images. I have also been able to communicate ideas with the use of animation within Rhino. However, the presentation of design ideas needs to be worked on in order to create a clear and concise method of communication.

Arguing Persuasively The precedents that I have selected have strongly inspired the direction of my design ideas. This is particularly evident from the concepts derived from the McCormick Tribune Center. I found it interesting to drive the idea of using the perforated panel to visually focus while achieving architectural discourse by implementing the animation.

Applying Technical Skills I have found the application of technical skills my strength for this project. My ability to explore numerous design ideas quickly with the use of Grasshopper and Rhino has been very handy. The ability to animate the design realistically gives a great indication of the final model outcomes.

Feedback The feedback obtained after our presentation has led us to the following improvements for the project.

Design Strengths -The animation technique is effective -The design considerations for the animation is good -There is a good mix and high and low technology implemented in the project.

Design Weaknesses -The image animation is hard to see due to the location being too far back.

-Tubing angle may need more exploration to create views for specific audiences (eg. cars and trucks) -Explore possible forms for the panels in the z direction. (eg. varying height) -Consider more exploration with the expressing the overall form -Consider the tones of the patterns and relate to site

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Future Although this semester has been challenging, I am glad to have learnt software that I can utilize for architectural design processes in the future. However, I feel that this studios focus on the utilisation of software has limited my design concepts. I feel that I have spent countless hours learning the in and outs of the software and when it came to the actually deign concept I was left with little time to develop it. One of the challenges for architectural education in the age of digital technologies involves the speed of software development. Software applications are continuously developing. An application today may change considerably in five years time and in some cases they may even become obsolete. This shows the importance of constant software education and regular updating to the most prevalent applications used in the industry. As well as this, the architectural industry is becoming more and more dependent on digital technologies in a way that is redefining the role of architects.

We are relying on the software to do the work for us and in some ways we are becoming more detached from traditional design methods. Contemporary architecture utilizes process-based approaches through today’s technological advances. One such approach uses simple mathematical geometry such as spheres, cylinders, torus, lines circles and eclipses. Although the geometry is simple, complex double curved structures can be created using 3-D CAD NURBS software. This type of process has emerged just in the last 15 years. With design software technologies advancing at such an excelled rate, it will be exciting to see what design capabilities will be possible in the future. In the future I plan to use this software to further enhance design concepts rather than base my concepts on the software limitations. I beleive that the skills I have developed in this studio will no doubt contribute to my future architectural endeavours.

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