ARCHITECTURE DESIGN STUDIO: AIR by eric chan ho ming

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DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_INTRODUCTION

INTRODUCTION

Hello everyone, My name is Eric Chan Ho Ming and i am 23 years old this year and i am a third year student majoring Architecture. This is actually my first year studying in Melbourne as I have completed my Diploma in Architecture back in Singapore. I have been using programs such as Autocad, Sketchup, 3D Max and Revit to generate design ideas and construct plans in my previous studios. However, i have never used Rhino or Grasshopper to do parametric design so far which makes this project my very first Parametric Architecture. So i hope at the end of the Architecture Design Studio Air subject, I can have a better understanding of parametric design and improve my skills in digital design.

URBAN

RETREAT

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C U L T U R A L

C E N T R E

My most recent work is actually back in 2009 when i was studying my Diploma in Architecture back in Singapore. The brief of the project was to build an Islamic Cultural Centre beside a mosque and to educate the audience on Islamic culture. However, the site is located in Chinatown which is very vibrant and has busy human and vehicular traffic as it is a tourist attraction. There would then be a distraction for people who wants to gain knowledge from the building. Hence i came out with the design intention to provide the users with a gradual retreat from the city so and at the same time be able to add on to their knowledge on Islamic Culture. The first storey was designed to with no entrance or exit to the building so as to create a continuity to the surrounding shophouses. One can move on to the upper storeys to continue their learning from the gallery and the library spaces. This does not restrict the publicâ&#x20AC;&#x2122;s circulation and allow them to have a controlled perspective of the building.As one goes to the upper levels of the building, there will be a sense of urban retreat from the busy human traffic and learning can be carried out more efficiently. The views to the surrounding site will also be predetermined to be gradually blocked off with the use of frosted glass and solid walls to allow concentration when learning. The pockets of garden spaces on the outside of the learning areas in the central atrium emphasize on having a contrast between the busy human traffic and a quiet retreated space. The garden spaces are created in a staggered manner to allow visual interaction with the other garden spaces from other levels. These further relates to the brief of educating the public on Islamic Culture and at the same feeling a retreat from the busy urban setup. With the knowledge of my previous works and the use of digital design process in the journal will serve as a platform for me to explore further communication structures for the Wyndham Gateway Project.

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_PREVIOUS WORKS

“architecture needs to be thought of less as a set of special material products and rather more as a range of social and professional practices that sometimes, but by no means always, lead to buildings.” Williams, Richard (2005). “Architecture and Visual Cuture”, in Exploring Visual Culture: Definitions, Concepts, Context, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp.102-116, p108

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_ARCHITECTURE AS A DISCOURSE

1.1 ARCHITECTURE AS A DISCOURSE W H A T

I S

A R C H I T E C T U R E ?

W H A T

I S

A R C H I T E C T U R E

A S

D I S C O U R S E ?

The definition of Architecture by the majority will be designing, enclosing space as well as creating objects in space. Williams mentioned, “Architecture should be thought as a social and professional practice that leads to buildings”. On the other hand, Shumacher described Architecture as an “ongoing system of communication that is constantly developing through cross referencing elements”. These statements actually lead to my view on Architecture as a discourse. My definition of Architecture as a Discourse is actually a communication between building and the public. Architecture often receives attention due to its scale and public presence, which could lead to a discourse. However, it is important not only to engage with the visual culture but also how the project innovatively creates a discourse with the public. Innovative use of techniques from precedent projects and using certain strategies to create a certain effect is a way of contributing to the ongoing discourse. Using the right choice of materials that are symbolically rich and reacting to the social or urban conditions can influence the experience of the public. The design brief of the gateway project highlighted that ‘The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse’. The use of digital architecture can stretch the design process to its maximum potential with new forms and use of materials and the way architecture is being conceptualized will help fulfill the thought of Wyndham City to be revolutionary and at the same time be aesthetically brilliant and possibly map Wyndham as the forefront of architectural innovation by creating a discourse on an international stage.

1. Exterior view of Therme Vals, Image from http://www.archdaily.com/13358/THE-THERME-

2. Exterior view of Outdoor Pool, Image from http://www.archdaily.com/13358/THE-THERME-VALS/

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_FAVOURITE ARCHITECTURE WORKS

THERMAL VALS, GRAUBUNDEN One of my favourite projects that really stood out for me was The Therme Vals, done by renowned Swiss architect, Peter Zumthor. His projects often portray a sense of identity within the site using his innovative Architectural expression. The Therme Vals was erected between 1993-1996 in in Graubünden Canton, Switzerland to predate the existing hotel complex. The Spa was designed such that it was broken up into dif3. Interior space of cold bath, Image from http://www.archdaily.com/13358/THE-THERME-VALS/

ferent units that fit together like a jigsaw puzzle. These units forms pocket of spaces for visitors to discover the luxury of bathing. What impressed me most was the architect’s intention to trigger the different senses of the user using the combination of light and shade, open and enclosed spaces and linear elements. This provides a completely different bathing experience from the ones we have at home, having the luxury to bath as a form of celebration. The circulation layout of the interior is not restricted to allow users to explore different areas themselves and also to ensure their perspective is kept within their control.

4. Interior of spa, Image from http://www.designyourinteriors.com/famous-slit-windows/

The fact that Therme Vals was built on the slope of the hill partially buried with the façade finished with stone like cladding clearly emphasizes on the architect’s intention to create an identity within the site. The use of grass roof structure for the bath serves as a continuity to the archaeological site. The appearance of this cave like structure in the wide mountain landscape draws your attention even before you enter the building. I feel that the intention to work with elements such as the water, stone and mountain was not to create the building as an art, but to allow the building to have an identity and public to appreciate the spatial and urban experience within the site. Evoking one’s senses to create different spatial experiences is one of the techniques that communicates with the users and contribute to the discourse.

5. Corridor of interior space, Image from http://www.archdaily.com/13358/THE-THERME-VALS/

7. Interior looking into skylight, http://browse.deviantart.com/art/Raindrops-333391935zumthor/t

6. Exterior facade, http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor/ ludwig_bruderklauschapel_no-08/

8. Details of facade texture, http://www.archdaily.com/106352/bruder-klaus-field-chapel-peterzumthor/ludwig_bruderklauschapel_no-08/

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_FAVOURITE ARCHITECTURE WORKS

BRUDER KLAUS KAPPELLE, WACHENDORF Another of my favourite projects is the Bruder Klaus Field Chapel, also done by Peter Zumthor. The rigid yet elegant outlook of the chapel was taken into consideration of the function of the building, which was to honor the local farmerâ&#x20AC;&#x2122;s patron saint, Bruder Klaus. The most interesting aspect would probably be construction of the interior space. Tree trunks were arranged to form the walls followed by pouring layers of concrete on the existing surface and lastly setting the wood on fire to create a unique blackened and charred walls. This creates a contrast in spatial experience from the outside to the inside. In addition, the roof opening out to sky creates a profound sense of light, scale and texture. The rain and sun would penetrate the opening from above to create an ambience or experience. The interior walls rising upward and inwards towards the sky with additional pinpoints of light from the walls makes the somber and reflective feeling inevitable. The chapel was designed in a way that a rigid exterior masks the impact of the interior space. This eventually turns out to be an elegant piece of architecture on an open landscape that 9. Interior of entrance, http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor/

stands on its own. Having a total different experience from exterior to the interior space of the project provided a contrast. The use of materials and the lighting in the spaces are techniques that allow constant communication with the user to contribute to the ongoing discourse.

10. De young Museumhttp://1.bp.blogspot.com/_YlCUUTCeYVI/S9Datq40j9I/AAAAAAAAAHM/KgltvKVNTsU/s1600/deyoungexterior.jpg

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 1_FAVOURITE ARCHITECTURE WORKS

DE YOUNG MUSEUM, SAN FRANCISCO

Another favorite project is the De Young Museum, done by Herzog De Meuron. The use of materials such as copper, wood stone and glass allows the design to integrate the building as part of the landscape. The use of texture on the exterior faรงade and playing with the size of each circle creates a unique texture that varies when seen from different positions. The circular gaps allow light to penetrate through the faรงade and create interesting shadow on the interior space. The intentional use of copper faรงade was due to its effect that would be created slowly due to oxidation. The gradual change in colour from brown to green 11. De Young Museum, http://www.swissmade-architecture.com/bilder/images/87.jpg

then slowly fades into its natural environment that draws the pubic into the space. The museum was designed in a way that its external faรงade uses different techniques to respond to the site context. The play with density of the patterns certainly draws the attention of the public from different perspective and the clever use of materials to create a gradual transition was an innovative way of contributing to the ongoing discourse.

12. De Young Museum, http://wikiarquitectura.com/es/images/6/60/De_Young_piel_cobre.jpg

â&#x20AC;&#x153;Our interest is how an algorithm, loaded with design intent, emerges from the design problem rather than simply the architecture emerging from a known algorithm.â&#x20AC;? Roland Snooks, Kokkugia

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 2_COMPUTATIONAL ARCHITECTURE

1.2 COMPUTATIONAL ARCHITECTURE H O W

C O M P U T I N G

A F F E C T

D E S I G N

P R O C E S S ?

Computation can also offer numerous of different ideas and new forms for us to approach a design. Complex geometrical forms that we once struggle to visualize can now be done within a short period of time with the aid of the computer. Besides the form, the possibilities of illustrating the buildingâ&#x20AC;&#x2122;s spatial experience have also become limitless. However, It is also important to understand the fundamentals of design and integrate them with the use of computer to explore complex geometry. One has to understand the capabilities of computation and not let his creativity be limited by the programs. Since the introduction of computer softwares, it has

As we move into the different stages of revolution where

become an integral part of architecture design process.

there will be a change in architectural styles and

This introduction has allowed drawings to be completed

approach, buildings that we appreciate now as a form of

under a short period of time compared to last time. Most

art may not be appreciated by our next generation like

importantly, it can generate new possibilities and

us. The advancement of technologies might influence the

create architecture without the constraints of limited

change in style in future and computational design can

ideas. Designers will also be allowed to analyze their

bring architecture to a whole new level of possibilities.

works and test whether it achieved its intentions. Digital computation should not be a tool only to create With the aid of computers, problem solving is less time

buildings that are pleasant on the exterior but at the same

consuming and more productive as it can organize and

time it can develop architecture in a functional way out of

test large amount of information together as a whole.

effective and optimized structural systems. In this way,

Evaluation can be done on these results through analysis

this will lead to many more possibilities of

to work on improving the solution to the problems.

architectural styles as technologies improve.

13. Exterior facade of the Baoâ&#x20AC;&#x2122;An International Airport, http://4.bp.blogspot.com/--804JQY7pvc/UP9a8D9VI0I/AAAAAAAAA9c/csFsbR-_HZo/s1600/c-hristian+nesset+photo.jpg

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 2_PRECEDENT STUDIES

BAO’AN INTERNATIONAL AIRPORT, SHENZHEN

The new terminal 3 for Bao’an International Airport in Shenzhen demonstrates the use of computation to break down linear and repetitive design strategies. The project showed how computational design can not only influence the form but also the structural aspect of the building. Relating back to Kalay’s strategies of problem solving and puzzle making, this project is more of the latter. It applies the use of computation to generate different possibilities and using the most efficient solution for the goal. In this case, the space structure of the building is covered on both sides by a perforated cladding consisting of different façade element and steel members. This actually made the geometry of the cladding look complex but in fact the structural system is very simple. Simple computational tools were used to allow easy communication be14. Interior structural design, Image from http://www.e-architect.co.uk/images/ jpgs/hong_kong/shenzhen_airport_reiser_umemoto_sgla070508_1.jpg

tween the architect and the engineers for the design process. With the use of a parametric model, the building was studied in a 3-dimension manner to allow changes to be made constantly during the design process. Even though computational design has much to offer for the design of new structures, it can be seen that most load bearing structures now are all lattice systems being cladded with a façade. The need to have this complex geometry integrated into the design and at the same time having an affordable construction cost was one of the key factors why only these systems were used. However, the use of computational tools can still influence the design process in many aspects with communication and collaboration from architects and engineers to develop the design to its maximum potential.

15. Interior cladding design, Image from http://www.scope-mag.com/wpcontent/uploads/2010/11/Baoan-gatest-640x256.jpg

16. Atrium to allow natural lighting, http://www.sinbadesign.com/wp-content/uploads/2013/02/Messe-Basel-New-Hall-4.jpg

DESIGNA STUDIO AIR_CASE FOR INNOVATION_WEEK 2_PRECEDENT STUDIES

MESSE BASEL- NEW HALL, BASEL

The Messe Basel- New Hall is one building that has its design greatly driven by computation strategies. Although the design of the geometries used looks visually like a piece of art but in fact its generation of geometries and materials are performance driven. Bearing that in mind, the architects see the need to have computational design tools to be closely connected to the design process for this project. Experimentation on digital fabrication created numerous of geometries and possibilities for the faรงade. However, with the intent on having the building to not only be buildable but meaningfully buildable highlights the need of computation tools to not only monitor the performance but also to make sure there are not constraints for assembly. 17. Exterior Facade, http://www.archdaily.com/332188/messe-basel-new-hallherzog-de-meuron/

With the possibility of constraints surfacing during the design process, it is important to consider all the performance issues equally so that the primacy of the architectural idea remains. Having the project done through approaching the fabricator in the early stage of design process made the design more efficient and productive to integrate with the architectural intent.

18. Facade treated with ceiling as a whole, http://www.archdaily.com/332188/ messe-basel-new-hall-herzog-de-meuron/511ce179b3fc4b42d20001fe_ messe-basel-new-hall-herzog-de-meuron_neubau2013_sba_01_789-jpg/

â&#x20AC;&#x153;If architecture wants to sur vive as a discipline, it needs to engage the culture of innovation and computing.â&#x20AC;? Mark Collins & Toru Hasegawa Proxy

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_PARAMETRIC MODELING

1.3 PARAMETRIC MODELING W H A T H A S P A R A M E T R I C M O D E L L I N G B R O U G H T T O A R C H I T E C T U R E ?

“The architectural field’s current use of the parametric

The aid of parametric modeling allows us to have control

has been superficial and skin-deep, maybe importantly

of generating numerous design with little changes made

so, lacking of a larger framework of referents, narratives,

on the parameter and having the efficiency of making

history, and forces.” (Michael Meridith). Architects now

changes in the initial stage of exploration rather than the

are using parametric modeling without understand it’s

later stage that is close to construction.

strengths it can bring to architecture and most importantly what architecture really is.

However, some of the parametric modeling works does look similar and that could be due to the complexity of the

Most architectural works now are now falling into the

software and the fact most designers have no

artsy-look category and this could be driven by our social

interest in scripting. Mark Burry admitted that despite

economy. The process is shorter and too most publics it

being introduced to scripting in class, he didn’t pick it up

looks cool on the exterior and that’s what matters to most

until he needed it for part of his design. Some

of them. Some of architecture work nowadays neglected

designers rely on other’s work and simply develop from

the importance of discourse and therefore many

others scripting and the outcome will not fully satisfy the

becoming sculpture-like architecture that is superficial.

parameter of culture and environment.

The use of parametric modeling in the architectural design process allows us to have the ability to work with

A designer who wants to control the result of a design

a large set of datas and at the same time proceeding in

has to be in control of the process and the tools. In other

many directions simultaneously for different possibilities.

words, a designer who wants to be in control must also

Most importantly, it can help us work beyond our

be a scripter or risk not having the desired outcome.

perceptual capacity which is one of its main strengths.

Before generating different variations of form, we must

These allow design exploration and design productivity to

have a clear idea of what’s the intention behind the

take place during the design process.

design in order to allow the building to communicate with the public.

20. Framework of glass facade, http://www.bestbuildings.co.uk/wp-content/uploads/2009/07/gherkin02.jpg

19. Entrance of Gherkin, http://www.bestbuildings.co.uk/wp-content/ uploads/2009/07/gherkin01.jpg

21. Diagonal braces, http://www.viewpictures.co.uk/ImageThumbs/FAP-SR-0240/3/FAP-SR-0240_ SWISS_RE_TOWER_ST_MARY_AXE__GHERKIN_INTERIOR.jpg

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_PRECEDENT STUDIES

30 ST MARY AXE, LONDON

Parametric modeling was being used to build the complex structure of the 30 St Mary Axe also known as the Gherkin. With the materials used being glass and it’s appearance curved, many wonder how the elements are being joined together as a whole. The intention of having only one type of curved glass throughout the entire façade of the building has emphasized the importance of productivity and sustainability. The use of parametric modeling through exploration processes changed the curved glass geometries to flat panels. This technique allowed it to be cost effective and at the same time retains the curved structure of the building. This further highlights the efficiency of using parametric modeling, solving the problem on the earlier stage of design process rather than facing it close to construction stage. The façade of the building is made of two layers of wall with a space and a row of horizontal shading devices. Triangular ventilating flaps are built to the façade to allow heat to travel out of the building. The curved shaped structure with its top and bottom slightly tapered made the building look sleek and the glass façade allowed natural lighting into the building. The curved shaped exterior also reduces the amount of volatile winds at pedestrian level and smoother airflow around the area. The diagonal braces on the ground floor also create a column free interior on the ground floor. These are all results of what parametric modeling and scripting brings to the architecture of discourse. The considerations taken to influence the airflow of the surrounding context and also creating the building to be energy efficient was innovative in the current context where sustainability is being emphasized. Parametric design approach used in this project can clearly 22. Interior of Gherkin, http://farm8.static.flickr. com/7206/6895890671_73b5678943.jpg

be seen to keep the consistence of form, function and sustainability in this building.

23. Exterorp facade, http://1.bp.blogspot.com/-i_0suzpvMRU/UOwqZTxe2zI/AAAAAAAAUOA/eyunJLYbN_w/s1600/Soumaya+Museum+by+FR-EE02.jpg

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_PRECEDENT STUDIES

MUSEO SOUMAYA The Museo Soumaya has become an iconic building in Mexico due to its sculpture like appearance on the outlook and its materials used but have also bridged a gap between its visual cultures. The form of the building adds a striking profile to the redeveloping section of the city and the façade cladded with hexagonal shaped metal tiles is a distinct break away from the traditional masonry and stone materials that are historically rich elements of Mexico’s crafts. The idea of hosting a large area for art collections and reshaping the industrial area of Mexico were the intent for the design of this project. Sizes of each floor plate responded to the nature of the artwork to be showcased on each floor. Parametric modeling was a crucial process in the initial stage for the outcome of this surface and form. The interesting aspect was having curving columns and horizontal steel rings laid on the surface that forms a complex 3D structure that holds the exteriors façade and the interior finish together. 24. Details of facade, http://2.bp.blogspot.com/-5AyToVSZeb8/T1TBIYBdPeI/ AAAAAAAABAg/10rJUjMboIM/s1600/detalle+exterior+entrada+museo+sou maya.jpg

With the building façade to be composed by hexagonal aluminum panels, the challenge was actually how to fix them on the curved form with consistent gap between them. The Gaussian analysis was done to study the surface of the design and identify the areas with the most curvature. The surface is then divided into two zones: the most curved and the most regular. Similar sized hexagonal panels are used for the regular zones and the curved zones are studied together to allow adjustment of panel sizes or gaps sizes to be made on the 3D model. This allowed quick decisions and solutions to be made for any constraints faced at the crucial moments. The use of parametric modeling played a crucial part in the overall design process for the creation of this innovative design. The facade of the museum greatly influenced by the form of the museum where patterns are being stretched was a consideration to create something that was not symmetrical. However the innovative aspect of this project was perhaps the minimum use of the different type of hexagonal panels on the sculpture-

25. Interior Gallery Space, http://archpaper.com/uploads/museo_ soumaya_01.jpg

liked facade.

â&#x20AC;&#x153;The main challenge of the scripting generation is the move from the creation of inventive articulated patterns, and the small-scale installations to the full scale architectural projects where scripting can unleash an entire universe of opportunities for architectural space.â&#x20AC;? Matias del Campo, SPAN

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_ALGORITHMIC EXPLORATION

1.4 ALGORITHMIC EXPLORATION

Number Slider

Surface

Number Slider

Surface Divide

Cull

Voronoi

Panel

My exploration includes using Grasshopper Scripting to create Pattern Listing by dividing the surface to a get a grid of points. A slider can be used to control the number of divisions on the surface itself. A Voronoi component is then used to create poly lines along the points to form a regular and even distribution of little squares patterns. To form more interesting geometry patterns, I used the Cull Pattern component to generate different variations of Voronoi components. Editing the number of divisions on the surface using the number slider and controlling the number points intersecting each line using the Panel component will create different variations of patterns.

O U T P U T

I N P U T S

V A R I A T I O N

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_ALGORITHMIC EXPLORATION

1.4 ALGORITHMIC EXPLORATION V A R I A T I O N

The different variations from the original pattern showed just some of the numerous possibilities that a pattern can form and further highlights that there are always more than one solutions to a problem. These patterns can influence architecture in various ways such as faรงade designs and structure frame designs. The use of parametric modeling can further explore the possibilities of having these interesting patterns on the surface and how the sizes of these patterns changes in respond to different surfaces. Having a change in sizes will generate more possibilities of different pattern and a might lead to further unexpected exploration due to certain constraints.

â&#x20AC;&#x153;An environment is missing that integrates representation and simulation based approaches. It could, for example, connect modelling with physics-based behavior, scripted elements and the generated structure could still communicate as a whole to external envioronments.â&#x20AC;? Martin Tamke

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_CONCLUSION

1.5 CONCLUSION W H A T

I S

T H E

D E S I G N

A P P R O A C H ?

The gateway project in Wyndham City is in the search of an installation that contributes to its existing environment through the introduction of innovative ideas to generate a new discourse. As mentioned earlier, architecture should reflect on the social and economical culture of the time to have the building to be constantly communicating with the public. Referencing to the tradition and at the same time exploring innovation towards the future to become more than just an architecture that looks pleasing on the eye. With the ongoing technology advancement, the use of computational tools and parametric modeling is the way to drive architecture to a whole new level. Creativity has been limited due to construction methods and fabrication processes and the use of computational design can allow architects to break away from these restrictions to create an innovative idea. The examples of projects showed how technology could influence the beauty of the building and at the same time the functional aspect of the building. I strongly believe digital technology can help to create

1.6 LEARNING OUTCOMES H O W H A S Y O U R D E V E L O P E D ?

U N D E R S T A N D I N G

Computers are playing a vital role in architecture design in fact it has become an impossible task to neglect the use of this powerful tool to approach design. Reading through of precedents gave me the

â&#x20AC;&#x153;The dominant mode of utilizing computers in Architecture today is that of computerization; entities or processes that are already conceptualized in designerâ&#x20AC;&#x2122;s mind are entered, manipulated or stored on a computer system. In contrast, computation or computing, as a computer-based design tool is generally limited.â&#x20AC;? Terzidis, Kostas (2006), Algorithmic Architecture (Boston, MA: Elsevier), p.xi

understanding of what results could be achieved through architectural computing. Practicing is actually much more difficult than it was said as I have completely no background knowledge on the parametric modeling. Understanding the readings and practice sessions have slowly impressed me on how parametric modeling and computation can have a huge influence in the design process. My initial thoughts about computing architecture are just minimal and superficial. However, this few weeks of understanding allowed me to realize how it can actually explore both in a realistic and abstract way. The generating of digital exploration ideas and using these ideas on performance measurement can lead to effective yet innovative designs. Mentioning my previous work in the earlier part of the journal, I thought I could have used computation to conceptualize urban density and how it could create a gradual contrast by restricting of views from the interior space to the city. I see architectural computing as a key tool for design exploration and also design productivity in many years to come. However it is important to control the design process instead of allowing the limitation of a computer to decide your design process.

DESIGN STUDIO AIR_CASE FOR INNOVATION_WEEK 3_LEARNING OUTCOMES

1.7 NOTES

Williams, Richard (2005). “Architecture and Visual Cuture”, in Exploring Visual Culture: Definitions, Concepts, Context, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp.102- 116, p108

Patrick Shumacher, “Introduction: Architectureas Autopoietic System’, in The Autopesis of Architecture (Chichester: J. Wiley, 2011) pp. 1-28

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

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

Burry, Mark (2011). Scripting Cultures: Architecture Design and Programming (Chichester: Wiley), pp. 8-71, p14, 39, 48, 51, 58

Brady Peters, Computation Works: The Building of Algorithmic Thought, ed. by Xavier De Kestellier pp. 1-152, p53

Jan Knippers, Computation Works: The Building of Algorithmic Thought, ed. by Xavier De Kestellier pp. 1-152, p75

Fernando Romero and Armando Ramos, Computation Works: The Building of Algorithmic Thought, ed. by Brady Peters, Xavier De Kestellier pp. 1-152, p61

Terzidis, Kostas (2006), Algorithmic Architecture (Boston, MA: Elsevier), p.xi

DESIGN APPROACH

PART B 37

27. Exteror facade of de Young museum, http://www.swissmade-architecture.com/bilder/ images/87.jpg

26. Exteror facade of Spanish Pavilion, http://pds.exblog.jp/pds/1/200712/01/51/d0079151_20503410. jpg

28. Interior view of Aoba-tei Restaurant, http:///ksamedia.osu.edu/media/26981&do cid=6pLRJ8_38yYGZM&imgurl=https://ksamedia.osu.edu/sites/default/files/styles/ fullscreen_12col_940longestside/public/05_0002297_0.jpeg&w=940&h=649&ei=a79oUYD wJKeFiAfwgYGADw&zoom=1&ved=1t:3588,r:25,s:0,i:165&iact=rc&dur=1595&page=2&tb

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_DESIGN FOCUS

B.1 DESIGN FOCUS P A R A M E T R I C P A T T E R N I N G A S A R E A O F I N T E R E S T

Patterning has been widely used to cover architectural surfaces in the same way in which itâ&#x20AC;&#x2122;s widely used over the realm of human artifacts. The human body in fact was one of the first surfaces to interact with

â&#x20AC;&#x153;Ornamental patterns that convey atmospheric values are received semi-consciously.In fact,architectural articulation in general operates largely via patterns that are perceived in passing, in a mode of distraction.â&#x20AC;? Walter Benjamin, Illuminations, New York 1969

design patterns. It is important to consider ornament and decoration as a key ingredient in architectural practice as it is to any artifacts. A building without decoration would look unfinished or without any sufficient decorum. Most buildings today use patterns to consider ornament and decoration in their design and with regards to the advancement in technology, the technique of parametric patterning has become a new powerful tool of architectural expression. The underlying surface variability is utilized as a set of data that can drive more pattern possibilities. However, these possibilities should only be considered if the pattern correlates with the geometric and functional aspect of the project. Apart from being decorative, it is essential to have the design to meet the intent of the project. In this case for the Wyndham City Gateway project, consideration should be made beyond object parameters to include ambient and observer parameters to engage with the users.

29. Exterior facade showing optical illusion using colours and patterning, http://homedespart.blogspot.com.au/2012/06/modern-architecture-centercity-galleria.html

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_PRECEDENT STUDIES

GALLERIA CENTERCITY, CHEONAN

The Galleria Centercity is a project that uses certain that I am interested to further explore parametric patterning. The Galleria Centercity’s main architectural theme was dynamic flow and optical illusion on a grand scale. The building design responded by presenting special lighting and animations to be constantly changing on the exterior to create a deliberate changeable aspect around the building. During the day, the façade has a monochrome reflective appearance, whilst at night it changes to a large illuminated surface with the use of soft colours to generate coloured lighting. The lighting design was done in parallel with architectural aspect and influences the structure of the double layer façade. Day monochrome pattern exterior facade

In this case, the façade of the design is constantly communicating with the observers using the technique of creating an optical illusion using vertical patterns and lighting. This relates back to potential of how parametric patterning has the potential to create a new discourse in Wyndham using the manipulation of lighting conditions and the shifting of observer’s position could trigger a dramatic change in the Tappearance. The use of parametric patterning with the manipulation of lighting can create an outcome that is not only seen as an ornament and decoration but encourage further reflection about the installation. This will certainly create a new discourse within Wyndham and for the Night colored pattern exterior facade

public to understand the installation beyond the first glance.

This section explores the potential of patterning that can bring through a serioes of exploration. These led to a wide range of possibilities with the use of parametric design for the project.

HEXAGONAL GRID

TRIANGULAR GRID

SQUARE GRID

ORIGINAL

INTERSECTION

POINT REPULSION

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_CASE STUDY 1.0

B.2 CASE STUDY 1.0 POINT ATTRACTION

LINE REPULSION

LINE ATTRACTION

1 .

LINE ATTRACTOR WITH BOX Pull the source points to the closest point of the curve 2 .

State distance between source point and points on curve

Manipulate the strength and area of the force 3 .

Switch between attraction and repulsion forces

Use data to control height, scale and movement 4 .

Exploration was made to form pattern with the attraction technique to view the patterns not only on a 2 dimensional scale but also on a 3 dimensional scale. 44

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_CASE STUDY 1.0

Square grid (31) Size of gridcell (51) Strength of attraction (40, 14) Height of box (5) Attraction

Square grid (31) Size of gridcell (74) Strength of attraction (73, 14) Height of box (40) Attraction

Square grid (31) Size of gridcell (74) Strength of attraction (25, 14) Height of box (70) Attraction

Square grid (31) Size of gridcell (74) Strength of attraction (25, 14) Height of box (70) Attraction Bound

SAMPLE IMAGE ON HORIZONTAL PLANES

1 .

Divide a surface with Points 2 .

Sample an Image

Use image values to move Points 3 .

Replace end points with original points

Create curves from points

4 .

Loft to create varying height planes

Further exploration was made to form pattern with the image sampler technique to view the patterns not only on a 2 dimensional scale but also on a 3 dimensional scale by changing the height of the planes. 46

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_CASE STUDY 1.0 Image sampler (10) End point new curve (1)

Image sampler (20) End point new curve (10) No. of points on curve (33)

Image sampler (20) End point new curve (10) No. of points on curve (4) No. of fins (33)

Image sampler (10) End point new curve (5) No. of points on curve (11) No. of fins (17)

30. Interior view showing an aquatic experience, http://stat2.architizer-cdn.com/mediadata/projects/112010/r990x990/9048963d.jpg

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_CASE STUDY 1.0

B.3 CASE STUDY 2.0 MOMA PS 1/ REEF

The design of the MoMA Reef was a chosen as a precedent because of how its pattern affects the interior spatial qualities. The interior space showed a sense of transition in the as one moves through the space. The intent of the project reef was to create an environment for the MoMA/ PS1 urban beach that has an aquatic experience. The concept of underwater landscape of the reefs influenced the idea of creating light, shadow and movement that is commonly seen underwater. The fluidity of the design was emphasized where the flow of the site and program generates the form and the surface of the reefs. The reef pattern forms a textured fabric that is designed to move with the wind. The modules that form the reef vary in depth to create different degrees of shade and are controlled base on the curvature on the underside of the surface. These created a sense of fluidity and create a gradual transition in the interior space like the aquatic landscape. The material for each element was evaluated in relation to subtle change in design where the play of shadow and light is heavily influenced by wind. Parametric software was then employed to model and coordinate the different elements for fabrication where the folding 31. Individual modules of each component, http://farm1.static.flickr. com/161/431629773_454ecd59af.jpg

of two-dimensional templates with overlapping flaps to join the elements to become a three dimensional component. The precedent highlighted the use of multiple modules to create a dynamic interior space and hence enable the design to have a transition in the sense of fluidity and movement in a gradual yet in direct manner.

MORPHING GEOMETRY ON SURFACE

1 .

Loft curves to create a surface 2 .

Create & divide domain

Create a geometry

Create surface box on lofted surface Morph geometry to surface box

3 .

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_CASE STUDY 2.0

4 .

RE-ENGINEERING OF CASE STUDY 2.0

5 .

6 .

This technique for MoMA Reef project enabled the possibilitiesÂŹ of integrating multiple structures to create a dynamic interior and show a gradual change in spatial quality in an indirect manner. The easy fabrication method of the individual modules allowed further development on sizes of the modules, the size of the opening and the surface in which these modules are fitted onto. These considerations will affect the shadow casting and the amount of light being able to enter the interior space. This technique could be developed further to create complex forms and geometries if not for its original form.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_TECHNIQUE: DEVELOPMENT

B.4. TECHNIQUE: DEVLOPMENT

The project chosen for Case Study 2.0, the MoMA Reef uses the technique of forming a grid of modules is used to form a pattern on a surface. The following section explores the potential of parametric modeling in terms of interchanging inputs, outputs and associations. The purpose of this exploration was to investigate each evolution which lies within the goals for this project. This section also refers to Yehuda E. Kalay (2004) Architecture’s New Media: Principles, Theories, and Methods of Computer- Aided Design (Cambridge, Mass: MIT Press) method of “search” techniques to analyse each outcome.

1 .

6 . Divide( 16, 12) Surface Divide (0,10) Surface Box (10)

Divide( 7, 13) Surface Divide (6,10) Surface Box (10,10)

2 .

7. Add Mirror to Morph Box Divide( 6, 12) Surface Divide (8,10) Surface Box (19,10)

3 .

Divide( 16, 60) Surface Divide (0,0) Surface Box (30)

8 . Remove Morph Box Add Face boundary to Surface Box Divide( 16, 60) Surface Divide (0,0) Surface Box (30)

Add Mirror to Morph Boxt Divide Surface Divide (10,10)

4 .

9 .

Delete Morph Box Add Face boundary to Surface Box Divide( 10, 10) Surface Divide (10, 10) Surface Box (55)

Remove Mirror Add Explode Add Circle CRN Add Expression Function to Loft Formula (z+y) when z=10, y=2 Divide (5,9) Surface Divide (0, 0) Surface Box (13)

5 .

10 .

Divide (6, 4) Surface Divide (10,10) Surface Box (10)

Divide( 9, 13) Surface Divide (10, 10) Surface Box (10)

11 .

16 . Remove Face Boundary Add Explode Add Expression function (z^2) to Loft when z= 10 Add Circle CRN Divide and Surface Box 10, 10) Surface Divide 10

12 .

Divide surface Cull pattern Panel(true) Voronoi Slider (31.750)

17. Remove Loft and Explode Move Expression function to Surface Divide Expression Formula (z-y) when z=8, y=7 Divide 5, 9 Surface Divide (0,0) Surface Box (13)

13 .

14 .

Panel(false, true)

18 . Unflatten and Unexpression the Surface Divide Delete Morph & Brep Add Explode Add Circle CRN Add Expression (z+y) when z=1 and y=7 Divide (1, 1) Surface Divide (8, 8) Surface Box (14)

Surface box Face boundary Slider(60) Geometry Bounding box Box morph

19 .

Delete Explode Delete Circle CRN Delete Expression function Add Face Boundary to Surface Box Divide (3, 4) Surface Divide (5, 10) Surface Box (20)

15 .

Geometry

2 0 .

Add Face Boundary to Surface Box Divide (12, 1) Surface Divide (12,12) Surface Box (55)

Slider(100)

2 1 .

Slider (3) Surface divide

2 6 . Dispatch-bake

2 2 .

Slider(9) (15)

2 7. Face boundary-bake

2 3 .

Surface box Geometry Bounding box Dispatch Panel( false, true, true, false)

2 8 . Morph(1)-flatten

2 9 .

2 4 . Pipe Curve*2 Surface box Morph (1)-bake

2 5 .

Morph(2)-bake

Pipe Slider(3) Morph geometry

3 0 .

New Domain divide (grid 1) Surfacebox (with loft) Morph (with new geometry) Brep Explode component(explode) List 4 Items Points on Curves (0, 1,,1,0) Polylines Loft BBox Morph on to pipe surface

3 1 .

3 6 . Pipe radius 15

3 2 .

New Domain divde of pipe surface (U:13, V:24) Iostrim Area Evaluate (X: area > Y:300) Dispatch(A) Morph (A) Height of Surface Box of pipe 3 7.

Pipe radius 20

3 3 .

Height of Surface Box of pipe (-100) Domain divide of pipe surface (U: 5, V5) Height of Surface Box for pipe (-71.840) Height of Surface Box for Brep (-500) 3 8 .

Points on Curves (1, 1,,1,0)

3 4 .

Height of Surface Box of Brep (-4.002) Points on Curves (0, 0,,1,0.93)

3 9 . Domain divide of pipe surface (U: 10, V5) at Surfacebox Height of Surface Box of pipe (-23.203) Height of Surface Box of Brep (207.263) Points on Curves (0, 0, 0.48, 0.86)

Height of Surface Box of pipe (51.787)

3 5 .

4 0 . Pipe radius (30) Domain divide of pipe surface (U: 2, V8) at Surfacebox

New Domain divide (grid 1) Surfacebox (with loft) Morph Brep Explode component(explode) List 4 Items Points on Curves (0, 1,,1,0) Polylines Loft BBox

41 .

Domain divide of pipe surface (U:20, V1) at Surfacebox Height of Surface Box of pipe (61.278) Morph A’s Points on Curves (0047, 0.04,0,0.63)

4 2 .

4 6 .

4 7. Y(100) of Evaluate Morph A’s Points on Curves (1,1,1,1) Morph B’s Points on Curves (0.5, 0.5,0.5,0.5)

4 3 .

Y(300) of Evaluate Morph B’s Points on Curves (0.62, 0, 1, 0.27, 0.93, 0) Domain divide of pipe surface (U:6, V:1) at Surfacebox

4 8 . 2 more List item at Morph A &B each. Morph A’s Points on Curves (0.09,0.10,1,1,0,1) Morph B’s Points on Curves (0,1,0,1,0,1) Height of Surface Box of pipe (6.252)

4 4 .

6 List Items of loft C (1, 0, 0.15, 0.07, 0, 0) Off Preview of Morph A & B

4 9 .

Domain divide of pipe surface (U:20, V:4) at Surfacebox Morph A’s Points on Curves (0.29, 0.80, 0.25, 0.78, 0, 1) Morph B’s Points on Curves (0.57, 0.30, 0,21, 1, 0, 1)

4 5 .

2 more list items at loft C. Domain divide of loft C (U:15, V:15)

5 0 . Domain divide of pipe surface (U:20, V:3) at Surfacebox Morph A’s Points on Curves (0.42, 0, 0.62, 1, 1, 1) Y(184) of Evaluate

New Domain2 Divide Domain2 Surface Box (loft surface from old curves) Morph with new geometry Brep Brep Component(Explode) 6 List Iteam Polylines loft C

Domain divide of loft C (U:10, V:10) 8 Items of Loft C (all at 0.5)

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 4_TECHNIQUE: DEVELOPMENT

B.4. TECHNIQUE:DEVLOPMENT Using the MoMA Reef project as a starting point, minor alterations were made to test how these additions of can be translated into the design exploration. With the goal of creating a form that shows fluidity together with the patterns being formed on the surface. The first 5 iterations evolved but did not have a significant change in form. Further exploration was developed aiming to achieve results of irregular forms but the subsequent shapes were too linear and regular which gave rise to the idea of trying something new. Iteration 15 was used as the base point for this new “search” of breaking away from the regular square and circular forms in the first 15 iterations. The evolution from iteration 15 – 24 was not dramatic but was successful in terms of breaking away from the square and circular forms. Further exploration was done and iterations with dynamic forms are beginning to show on iteration 25. The exploration thus far has shown a progression of how the form slowly evolves from an opaque structure to something that is something lightweight and skeletal. This was due to the introduction of the technique “piping” to the definition. Further evolution was seen in the iterations where the language of forms are becoming messy and becomes unclear in showing the intent. These results led to the thought of exploring further to create a patterned lightweight structure that shows less complexity. After the exploration of the 50 matrixes, our group was particularly interested in using the techniques from the 50 iterations to manipulate perception and create an impression of dynamism without creating a kinetic model- capturing movement.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 5_TECHNIQUE: PROTOTPYES

B.5. TECHNIQUE: PROTOTYPES PROPOSAL 1.0 The concept of capturing movement to create an impression of dynamism played a big part in the evolution of the iterations. However, the language of the forms created for the iterations becomes too complicated and messy which disrupts the intent of capturing movement. Our group decided to continue working with the techniques used from the iterations but at the same time creating something that is less complex. Exploration was done on a physical model to see if the design was able to achieve its intent of creating the concept of movement. Techniques such as changing the size and height of the geometry could manipulate the perception of speed. Other techniques such as twisting of lines could bring a sense of fluidity were all tested on a physical model. Further exploration was also done in terms of using the techniques of twisting, tilting of angles, use of lines and colors to affect the desired effect of movement through speed. Simpler geometries are being tested to show how the modules are being fitted onto the structure. The circular structure was sent to the Fablab for fabrication to get an accurate scale of the model to study the joints. The bracket and rib system have been considered as a key joint for the installation. The position of the brackets can be determined as shown in the physical models where the geometry can be fixed to the base. The assembly sequence will be such that the circular geometries will be fixed to the ground using brackets and the lines will fit through the holes that are being drilled into the circular structure.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 5_TECHNIQUE: PROTOTPYES

B.5. TECHNIQUE: PROTOTYPES PROPOSAL 2.0

Further exploration was done on the physical model for the second proposal through the changes in height and size of the geometry to manipulate the perception of speed. Other techniques such as twisting of lines that could bring a sense of fluidity and moving from an opened to a narrower space was tested on a physical model to achieve the effect of sucktion.

PROPOSAL 1.0 PRECEDENTS The project Unique Form Of Continuity in Space was chosen as a precedent as its form shows how the use of curve can create a sense of fluidity and movement. The use of a shiny material further enhances the effect of fluidity and dynamism where light shining on the copper creates different tone of colour on the surface. 32. Unique Form Of Continuity In Space, http://uploads0.wikipaintings.org/images/

This influence the exploration of looking into metallic materiality and how it respond to light to create a pattern. The technique drawn from the project Dynamic Shape Shifting Helix Bridge was the use of different size of geometries and tilt of angles to show a change in movement of the different geometries to the other. The twisting technique was drawn from this Helix

33. The Dynamic ShapeShifting Helix Bridge, http://4.bp.blogspot.com/gKY6yfPqsvQ/TxjCWJYsCPI/AAAAAAAACSo/7TMFpFRg0d0/s1600/Dynamic-

bridge project where the use of line clearly draws the human perception of following the movement of the line as the structure twists. This almost shows how human respond to stationary objects but perceive that they are in a motion. The last project, Re-projection: Hoosac use the technique of lighting shining on materials to enhance

34. Helix Bridge by West 8 Urban Architects, http://1.bp.blogspot. com/_1FGOOtd1YXM/S9-tEPkr3iI/AAAAAAAAAsc/FCfBOQfqPT0/s1600/

the effect of movement. The use of mono filament material for the line created a shiny and reflective outlook which further emphasize the technique of using lines to show movement.

35. Re-projection: Hoosac, 2010 mono filament & spotlight, http://thewriteart. files.wordpress.com/2011/03/light.jpg

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 6_TECHNIQUE: PROTOTPYES

PROPOSAL 2.0 PRECEDENTS The Nagakagin Capsule was been chosen as a precedent because the building facade shows how even with using boxes, a sense of movement or fluidity can be achieved. By simply altering the direction of the same sized boxes, a dynamism can be felt. This is the kind of experience that the project is trying to aim 36. Nakagin Capsule Tower, http://figure-ground.com/data/nakagin/0007.jpg

for. By using a pattern of gradation and vari- ation in heights or density wiill allow for a similar effect as the Nagakin Tower. tshows how lines tilt towards the entrance of the building to direct the eyes to a main focal point. It almost seems like the wooden beams on the edge of the fence are being attracted towards one point. This structure also shows how movement can be created with straight structural members. This tower dramatically spires to the top with a randomly irregular shape at the base and transition to a regular shape as the tower narrows and reaches its

37. Edith Cowan University, http://ro.ecu.edu.au/homepage/1000/preview.jpg

apex. The manner in which the tip of the tower tapers gives the effect of a black hole in this building, the idea of almost being suctioned towards the focal point- the other end of the tower. This depicts the idea of creating movement within the structure, as one perceives they are in motion whilst stationary.

38. Breakwater Beacon Tower, , http://www.evolo.us/wp-content/uploads/2013/04/JeddahBreakwater-Beacon-UAP-Principal-051.jpg

PROPOSAL 1.0

PROPOSAL 2.0

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 7_TECHNIQUE: PROPOSAL

B.6. TECHNIQUE: PROPOSAL The design concept for this project was to create visual movement in a structure to evoke the perception of movement and give an impression of dynamism without creating a kinetic model. The approach taken to generate a discourse was to create “passage way” for drivers to drive through/ pass before entering into the city. However, the challenge was to create an innovative idea and at the same time have a spatial experience that could contribute to the discourse of the site. As being mentioned in the earlier part of the journal, the architecture has to be innovative in order to communicate with the public. Hence, the intent was to create a spatial quality that could evoke the human senses. With this in mind, exploration was done base on human’s perspective of movement and use different innovative techniques to achieve this discourse. Techniques such as the use of lines, tilting of angles and sizes of the geometries and colors are being used to achieve the illusion of movement. These techniques aim to artificially stimulate a human mind of seeing movement without creating a kinetic model. Further exploration was done on materiality to show a gradual transition on materiality as an alternative to neon light. The surface could be made of metal and has a gradual application of corrosive substance that changes in colour slowly overtime. The interplay of the earlier techniques and the use of colours could create a structure that evokes ones senses. As mentioned in the earlier part of the journal, the complexity of the ideas is not possible to fabricate. However, the use of parametric design has allowed exploration to be done to constantly explore on the fabrication techniques and alter the design components. Hence, the interplay of the earlier techniques and the use of materials could create a structure that evokes ones senses and address the objectives of creating an architectural innovation by creating a discourse to map Wyndham on the international stage.

B.7. ALGORITHMIC SKETCHES

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 8_LEARNING OBJECTVES & OUTCOMES

B.8. LEARNING OBJECTIVES AND OUTCOMES D E V E L O P I N G T H E A B I L I T Y T O C O N V I N C E W I T H O U R P R O P O S A L Using the idea of creating movement, our group wanted to create a spatial experience to give an illusion of movement. The intent was to artificially stimulate the human mind of seeing movement without actually creating a kinetic model. Further exploration was done on materiality to show a gradual transition of density as an alternative to neon light being mentioned in the design process with the aim of evoking the road userâ&#x20AC;&#x2122;s senses when entering through the city. We draw the different techniques from the iterations explored and researched on how it worked through precedent studies projects. Application of the different techniques into a coherent whole was translated into the design proposal to show an illusion of movement.

D G P U

E E O S

V E N E S S I N

L O P I N G T H E A B I L I T Y T O R A T E D E S I G N I B I L I T I E S F O R A C A S E O F G P A R A M E T R I C M O D E L L I N G

The past few weeks has been really fruitful in terms of gaining the understanding of the grasshopper software as it showed me the potential and the large amount of design possibilities that could be generated. The flexibility of the software meant that design parameters of the model could be altered very quickly to allow constant exploration from the original design. I guess the beauty of this software was that I wouldnâ&#x20AC;&#x2122;t know what is going to be produced during the exploration process and that allows me to stretch my design ideas to its limits.

B.8. LEARNING OBJECTIVES AND OUTCOMES D E V E L O P A N U N D E R S F O R D I G I T A L F A B R I C U S E S K I L L S I N P A R A M O D E L I N G T O A L T E R C H A N G E S

T A N D I N G A T I O N A N D M E T R I C T H E

Through the exploration of physical model to test on materiality and joints, there were some constraints whereby the design needs to be altered. Understanding the process of digital fabrication was important in order to apply the techniques on fabricating the model. It also shows an accurate scale of the model to see if it actually retains the same effect that was intended to achieve in the physical model.

F U R T H E R D E V E L O P M E N T M I D S E M E S T E R C R I T

F R O M

After the mid semester crit, our team decided to further develop the idea of creating a movement by working on the idea of combining some of the techniques used in the 2 proposals. This will draw the idea from the first proposal of the use of materiality to create a gradual transition as an alternative to neon light. This will draw the idea from the second proposal of entering a blackhole and being drawn towards the end using the form of patterns, shadow play and natural lighting to create this sense of suction. Metal was considered as the material that is going to be used for the surface of the structure component and modules due to its characteristics of having a reaction towards corrosion through staining of substances on the surface. Changes in colour would be evident on the surface slowly overtime with regards to the gradual application of this substance. Studies could also be done on the reflectivity of the metal surface under sunlight after the corrosion process and see how these sunlight affect the colours seen on the surface through human perception.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 8_LEARNING OBJECTVES & OUTCOMES

DESIGN PROPOSAL

PART C 73

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

C.1 GATEWAY PROJECT: DESIGN CONCEPT P R O J E C T

B R I E F

I N T E R P R E T A T I O N

â&#x20AC;&#x153;Wyndham City had been addressing the issue of its image by undertaking significant works to upgrade the condition and aesthetics of its streetscapes, open spaces and parks.â&#x20AC;? Our proposal intends to not only create something that addresses the image of Wyndham but also a spatial experience that can be experienced when driving through the installation. In addition, the use advance technologies such as parametric tools and computational design approach in the design stages to the fabrication stages, addresses the objective of creating an architecture innovation with the intent of mapping Wyndham on an international stage. Furthermore, our proposal will definitely generate a new discourse with the deliberate intent of creating a portal inspired by the controversial concept of a black hole.

DESIGN CONCEPT: MOVING THROUGH A BLACK HOLE “Such wormholes, if they existed, would provide short cuts for Interstellar space travel, which other wise would be pretty slow and tedious, if one had to keep to the Einstein speed limit and stay below the speed of light.” Stephen Hawking, “Into a Black Hole”

39. Image of a black hole, http://www.markchampkins.com/wp-content/uploads/2012/11/hawking-blackhole-space-720.jpg

As explained by Stephen Hawking in “Into a Black Hole”, a black hole provides a passage from one universe to another whereby an event horizon is a boundary in spacetime beyond which events cannot affect an observer from the outside. He described black hole as regions of space where the pull of the gravitational field is so strong that even light can’t escape. Because nothing travels faster than light, any other matter will also get dragged back. In layman’s terms, it is defined as “the point of no return”. One wouldn’t notice anything particular as he falls into a black hole, but someone else watching from a distance would see him slowing down and hovering just on the outside instead of seeing him cross the event horizon. The image of him would get dimmer until it is effectively lost from sight. He also mentioned that the black hole would lose mass and shrinks as particles escape from the hole which increases the rate of emission of the particles. Eventually, the black hole would lose its entire mass and disappear.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

“A singularity is an infinitesimal point in space where the pull of gravity is infinitely strong and spacetime indefinitely cur ved.” Stephen Hawking, “Into a Black Hole”

Taking Stephen Hawking’s explanation as a reference, the black hole concept has served as an inspiration for our proposal whereby when an object enters the event horizon of the black hole, it is unable to reverse back instead it is being pulled in and pushed out of the other end of the universe. These acts as a passage from one universe to another just like our proposal will serve as a passage from one paradigm to another, Geelong to Melbourne. Vehicles passing through the imaginary border at the entrance of the black hole would have no alternative routes but to continue their journey through the portal.

BREAKWATER BEACON TOWER

BY URBAN ART PROJECTS

40. Breakwater Beacon Tower, http://www.evolo.us/wp-content/uploads/2013/04/JeddahBreakwater-Beacon-UAP-Principal-051.jpg

The tower was dramatically tapered to the top where the base of the tower narrows and reaches its apex. The manner in which the top of the structure is being tapered creates a black hole effect that leads one to a focal point at the other end of the tower. The gradual transition in the size of geometries becoming smaller as the tower narrows towards the top further enhances the effect of black hole. This portrays the idea of creating movement within the structure, as one perceives they are moving whilst stationary.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

HALO

BY ANISH KAPOOR

41. Halo, http://cdn.c.photoshelter.com/img-get/I0000jw8rg7STG.s/s/750/750/Peabody-EssexMuseum-110102-0016a02-100x75-120-sRGB.jpg

The project has a circular cone-liked structure where the base of the cone narrows towards the tip of the cone. Its surface is made of stainless steel strips that follow the form of the cone that leads to the tip. This arrangement of the radial pattern emphasizes the center point of the circle leading to its focal point. The reflective surface of the stainless steel acts as mirrors to produce reflections of the surrounding and creates an effect of warped reality. The effect of having reflection of lights and the surrounding on the mirror surface is an effect we were inspired to use in our design.

PROJECT DELIVERY ON SITE Thinking where to position the structure

Before further developemnt of the use the techniques from the precedents studies, it was nescessary to decide the type of form and the position where the proposal would be located.

1. Site 2. Direction of traffic flow along the highway

3. Area of site boundary given Site B

Site C

Site A

4. Site B

Site A

4. Chosen location for our proposal is Site A and Site B as our concept of black hole integrates the idea of cars driving through the tunnelliked installation. Taking in consideration of our concept, we aim to provide a drive through experience that evokes a sense of movement. Locating it towards the end of the highway is also driven by our concept of having a passage from one paradigm to another, Geelong to Melbourne.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

FORM DEVELOPMENT Rethinking about the form of the proposal

Feedback was being taken into consideration during the mid-semester critique session whereby our group decided to further develop on the proposal of creating a black hole. With relavant research done on precedents, techniques were drawn from the projects to be applied on our proposal. Hence, we decided to focus on making these changes to enhance the effect of a black hole: 1. Form of the structure shrinking towards the end 2. Use of linear lines to lead towards a focal point 3. Choice of geometry being morphed on a surface 4. Size of geometry shrinking towards the end in relation to the form shrinking in size 5. Density of the geometries on the surface

Mid- Semester Proposal

When one drives from one end to the other end of the site, the change is a gradual transition such that the structure loses its mass and shrinks.

DEVELOPMENT PROGRESSION

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

10.

11.

12.

FORM DEVELOPMENT

Exterior Form

To show a gradual change with regards to the concept of black hole, we began with a form similar to a cone.

Shrink Towards The End

1. Curves were used as a reference in relation to the site contours to form the “Event Horizon” and “Singularity”.

Lines Leading To A Focal Point

2. Curves were divided into equal parts where the points are joint with a line from curve A to B.

Square Geometr y Morphed Onto Surface

3. Lines are further divided into equal parts and joint horizontally with other points to form a square grid.

Triangular Geometr y Morphed Onto Surface

4. Lines being join to mid point of the square grid to form triangular geometry.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

FORM DEVELOPMENT

Exterior Form

To create an impression of the structure pulling the users into a blackhole, the depth of the structure and how the structure loses its mass was taken into consideration.

Creating Of Line By Folding Linear Strips

1. Curves were being offset inwards where the divided points from each curve are being joint to form the Zig-Zag profile. Lofting of the points from the 4 curves creates this folded form.

Creating A Twisted Form

2. Curves from both ends of the structure is rotated in the opposite direction to form a gradual twist on the structure and enhances the effect of being pulled inside the tunnel.

Creating of openings with the chosen triangular geometr y

3. Triangular geometry are created as a Brep component to create a flap-liked opening.

Reducing the density of triangular flaps on the surface

4. Position of the flaps are positioned on every alternate strip.

1a.

FORM DEVELOPMENT

Exterior Form

To further emphasize the structure slowly losing its mass towards the end, the grasshopper definition was altered to allow control over the amount of triangular flaps on a strip and also the angle in which the flaps are opened.

1b.

Altering The Amount of Triangular Flaps

1. The number is adjusted by a number slider for the X and Y axis where the amount of triangles on each columns and rows could be adjusted.

Altering The Angle Of The Flaps

2. The angle of openings for the flaps are determined by a point attractor where the tip of each triangular flap is adjusted to attracted to a point at the end of structure. This shows a gradual change in size of the opening of the flaps. With the definition of the model already being scripted, adjustment can be made easily on the height, width and its length of the structure so that its scale fits onto the site.

Adjusting The Height & Width Of The Structure To Place On Road

3. The actual dimension of the road is being taken into consideration and the initial curves are being scaled bigger to fit onto site. In this case, the height and the width of the structure has increased. Hence,more strips are needed to be added onto the curve through lofting the points on the curve as mentioned earlier.

Adjusting The Length Of The Structure

4. The length of the whole model is adjusted to approximately 200 metres long to allow drivers to have an approximate 7-10 seconds of spatial experience when driving through the structure.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

FORM DEVELOPMENT

Physical Model Exploration

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 9_GATEWAY PROJECT: DESIGN CONCEPT

FORM DEVELOPMENT

Digital Model Fabrication Rationalising With Design Concept

Curves offset inwards “x” dimension

Split curves into “y” amount of segments with points

Points are being joint using lines to form zig-zag profile

Loft the lines from both curves to create a strip surface

Curves are being rotated in the opposite direction

Morphing of triangular components as Brep onto strip surfaces

Alter the number of components on x-axis of surface

Alter the number of components on y-axis of surface

Angle of flaps openings determined by point attractor

C.2 GATEWAY PROJECT: TECTONIC ELEMENTS Initial proposal to assemble each prototype

Fabrication

Metal sheets are divided into segments of â&#x20AC;&#x153;xâ&#x20AC;? length whereby the triangular geometry is being cut out and welded back onto the surface to the required angle to create the flap.

Transportation

Taking into consideration of transportation issue, panels are designed to be small and prefabricated from the factory to a reseasonable size so that they could be stacked onto a truck and transported over to site.

Site Works

Excavation is required to level the site before placing the structure on site. Relavant reinforcements can be added on both sides of the road to give additional support for the structure.

Assembly

1. Reflected surface painted on metal flaps 2. Edge panels are fixed to the ground slabs using bolts and screws and reinforcements can be addded on both sides of road for strengthening purpose. 3. Individual panel of metal sheet is welded with the one ajoining on the same row to eventually create an arch-liked shape. 4. These arches would be lifted up by a crane and bolted together on a metal rib support. 5. Repeat the process for the connection of the arches until the entire structure is complete.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 10_GATEWAY PROJECT: TECTONIC ELEMENTS

Proposed Construction Elements

Triangular perforations

Metal Sheet Bolts and Screws

Angle Bracket

Strip panels welded together

Reflective surface painted on metal flaps Metal Sheets Triangular perforations

Metal rib bolted between two panels for support

Metal flap welded onto metal sheet

C.3 GATEWAY PROJECT: FINAL MODEL Fabricating the Model

After constantly developing the design and the construction of our proposal, the strip surfaces and the triangular flaps are ready to be sent to FabLab for cutting.

The triangular flaps are being adjusted in the settings to have its base to be etched before cutting. This allows easier construction of the model instead of cutting it out and joining it together again

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 10_GATEWAY PROJECT: FINAL MODEL

The triangular flaps are being adjusted in the settings to have its base to be etched to allow easier folding. This allows easier construction of the model instead of cutting it out and joining it together again which could be time consuming. As the strips would be held in place with one another, additional tabs are being added at the edge of the strips whereby the edge are being extended outwards to allow stronger joints of the physical model. Additional triangular flaps was sent to the Fablab to be printed on a shiny surface to stimulate the effect of having the shiny surface painted underneath the flaps. The strips are connected and glued together at the additional tabs made methodically. However, pasting each triangular flaps on the actual model was quite a frustrating process as the triangular geometries are really small. Thankfully, after much hardwork and time, we managed to piece the entire model together. The glued joints are strong and the model could be self supported.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 11_GATEWAY PROJECT: FINAL MODEL

C.3 GATEWAY PROJECT: FINAL MODEL The Physical Model

C.3 GATEWAY PROJECT: FINAL MODEL The Spatial Exeperience The structure mimics the concept of singularity in a black

The structure will eventually lose its mass and disappear

hole where it begins with a large entrance to a narrow exit,

as the rate of emission of particles increases. As mass

emphasizing the focal point at the end of the structure.

is being absorbed into the black hole, energy is being

Our proposal uses the technique of folding linear strips

released and is demonstrated by the use of flaps opening

with lines created from the fold to direct the user to the

outwards for these particles to escape. Mirrors were

end with the intent of making them feel as though they are

placed on the underside of these flaps to highlight this

being pulled to the other side and showing the feeling of

principle of particles escaping when light is shined on

time being fast forwarded.

them and being reflected outwards. The structure would slowly lose its mass and shrinks towards the end just like the black hole.

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 11_GATEWAY PROJECT: FINAL MODEL

Exterior View Of Vehicle Driving Through

C.3 GATEWAY PROJECT: FINAL MODEL

The Spatial Exeperience

DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 12_GATEWAY PROJECT: FINAL MODEL

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C.5 LEARNING OBJECTIVES AND OUTCOMES F U R T H E R D E V E L O P M E N T F R O M F R O M F I N A L P R O J E C T P R E S E N T A T I O N After the final project presentation, feedback was given to address the overall length of the structure to provide sufficient time for the drivers to experience the interior space of the structure and find more ways to exaggerate the effect of a black hole. Our group decided looked into ways to enhance the effect of the black hole concept and at the same time not creating too much discomfort for the drivers when driving through the black hole. The length of the model was being extended to 200 meters as compared to the original proposal of 100 meters provides the drivers with a longer time to experience the interior space. With the intent of enhancing the effect of a black hole and not over exaggerating it, simple techniques such as increasing the angles of the gaps and having it eventually opening inwards towards the end of structure shows a gradual but drastic transition compared to the original openings.

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DESIGN STUDIO AIR_DESIGN APPROACH_WEEK 12_GATEWAY PROJECT: FINAL MODEL

C.5 LEARNING OBJECTIVES AND OUTCOMES The Conclusion

It has indeed been a eye opener for me over the period

The design approach of “search” from Yehuda E. Kalay

of this semester when I have been able to engage

(2004) Architecture’s New Media: Principles, Theories,

with different computational software such as Rhino,

and Methods of Computer- Aided Design was something

Grasshopper and InDesign. I would say I am proud

new to all of us where we could investigate each evolution

of myself with what I was able to achieve in within a

using parametric tools. Through thorough research and

semester. Learning the Grasshopper software was difficult

reading up on articles, we could back up our argument

as I had problem understanding the data structures and

and design concept to make our proposal more convincing

try manipulate them. However, as the semester passed,

to the judge panels.

I was more familiarized with the software and was able to achieve the desired result of an idea. As mentioned in

All in all, this studio has certainly changed my perspective

the lectures, it takes years of practice before one could

of parametric architecture whereby I hope could use the

become a master of any skill. Throughout the semester, I

skills I learnt on other projects especially when we are

was given many opportunities to develop my skills with the

living in a constantly improving architectural world. Even

different computational software where I managed to also

though the subject has been very demanding, I would say

improve on my presentation skills.

I enjoyed every minute of the semester. I hope to continue developing the skills I have learnt and apply it in future.

I was fortunate to have a group of peers and dedicated tutors whom constantly provide advice and guidance throughout the semester. These has deepened my understanding of the subject and allowed learning to be more interactive. My group and I divided the task according to specialty and interest where learning could be done when we teach each other the skills that we are unfamiliar with. This satisfies one of the learning objectives of working together as a team.

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REFERENCE LIST PART A 1