Final Journal 558151 Ivan Tang

ARCHITECTURE DESIGN STUDIO: AIR Ivan Tang ABPL30048 Sem. 2013

Tutors: Chris Gilbert and Rosie Gunzburg -1-

CONTENTS 00

CONTENTS INTRODUCTION

01

CASE FOR INNOVATION

A.1 A.2 A.3 A.4 A.5 A.6

02 B.1 B.2 B.3 B.4 B.5 B.6 B.7 B.8

Architecture as A Discourse Computational Architecture Parametric Modelling Algorithmic Explorations Conclusion Learning Outcomes

i-ii 1-2 3-6 7-12 13-18 19-20 21-22 22

Design Approach Design Focus Case Study 1.0 Case Study 2.0 Technique Development Technique: Prototypes Technique Proposal Algorithmic Sketches Learning Objectives And Outcomes

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23-24 25-26 27-28 29-32 33-40 41-46 47 48

03 C.1 C.2 C.3 C.4 C.5

Project Proposal Gateway Project Design Concept Gateway Project Tectonic Elements Gateway Project Final Model Algorithmic Sketches Learning Objectives And Outcomes

References

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| ABPL30048 ADS: AIR

| PART 00

INTRODUCTION

| INTRODUCTION

ABOUT ME My full name is Ivan Ho- Lun Tang but I prefer to be referred to as Ivan. I am currently a third year student studying Bachelor of Environments and majoring in Architecture at Melbourne University.

I am par cularly interested in the virtual side of designing due to the greater poten al and flexibility it offers compared to its physical counterparts and the prac cal uses it offers for modern society.

I have had an eclec c, yet not extensive, experience handling computer- aided design so ware. I studied at Deakin University where the course has introduced me to AutoCAD and ArchiCAD which I both found useful in designing 2D and 3D structures while elimina ng the human error factor.

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The Melbourne couse introduced me to RHINO and Indesign where I found the former allowed me to design more freeform and natural shapes compared to the more geometrically fixated shapes in ArchiCAD I learnt.

I understand the value of Digital Architecture and that its gaining momentum in the modern world, and am eager to learn and contribute what it has to offer.

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| PART 00

| INTRODUCTION

| PREVIOUS WORKS

PREVIOUS WORKS

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Virtual Environments (2011) The design criteria involved crea ng a 3D model using RHINO to be worn over a part of the body; using a natural process or pa ern as the ini al inspira on. My model was derived from water pa erns, par cularly the light manipula on passing through rippling water and the results the bending light creates.

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It was from designing that I found the poten al of parametric design to design and fabricate complex forms eďŹƒciently and accurately.

1 Ivan Ho- Lun Tang 2 Inside of Virtual Environments Lantern Model, 2011 3+4 Illuminated Lantern Model -2-

| ABPL30048 ADS: AIR

| PART 01

| CASE FOR INNOVATION

Part 1 case for innovation

01 A.1. architecture as a discourse

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| PART 01

| CASE FOR INNOVATION

ARCHITECTURE AS A DISCOURSE

“...architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideraƟon of architecture as discourse that one can engage with it as visual culture.”

(Williams 2005)1

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| A.1. ARCHITECTURE AS A DISCOURSE

Architecture as an en ty is very ambiguous discipline too narrow to be understood through the scope of a singular discipline, but one which requires a collec on of in- depth prac ces.

In its social and urban environment, architecture has the power to influence its public domain, where “[it] is as much a philosophical, social or professional realm... and it is through the consideraƟon of architecture as discourse that one can engage with it as visual culture” (Williams 2005).

It is also able to reflect the space it inhabits, but also one to invoke local feedback as a social mediator to engage and interact with the social masses.

As an ar orm, one may not see beyond the discipline’s sterotypes, and overlook the double standards that places architecture that differen ates itself from buildings. Williams (2005) outlines the high expecta ons imposed on what architecture should be- permanent, expressions/ statements of me peroids; superhuman standards that society expect from them.

As men oned above, urban spaces are a product of social spaces; with Henri Lefebvre describing architecture being the culmina on of experiences of the urban environment. Experiences where architectural elements are to be viewed through what role they play in the social system, and what the concequen al reac ons are from local society.

Just as architecture are more than just fancy buildings designed for others to occupy, architecture can be seen as a social experiment; a discipline covering the network of debates, prac ses and philosophies about the built environment.

Richard Williams, ‘Architecture and Visual Culture’ in Exploring Visual Culture: DefiniƟons, Concepts, Contexts (Edinburgh, Edinburgh University Press, 2005), pp. 103.

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| A.1. ARCHITECTURE AS A DISCOURSE

| TOYO ITO

Sendai Mediatheque

| SENDAI MEDIATHEQUE

1995-2001 Toyo Ito

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The Sendai Mediatheque has been an interest of mine because of it’s styled to ressemble a series of trees as the “trunk” of the structure.

What had a racted me was not only the simplicity of the design, but the characteris c of being the “roots” of a technological resource building.

Just as a modern architectural structure can represent elements of the modern world, the Sendai Mediatheque represents, at least to me, how extensive the informa ve or technolical reality has become apart of the modern world.

Yet I find that this building isn’t solely u litarian, but it also serves to have a natural, aesthe c purpose.

Toyo Ito, 1995-2001, Sendai Mediatheque, photograph, <h p://3.bp.blogspot.com/_Ien3q8fUKFQ/TD65YksgrwI/ AAAAAAAABk8/nY4HW2COLZ4/s1600/Sendai+Mediatheque+2.jpg> [accessed 16 March 2013].

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| ludwig mies van der rohe | farnsworth house

Farnsworth House

1945-51 Ludwig Mies van der Rohe

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The Farnsworth House has been an interest to me because it focuses on the connec ons between the individual and society. The inhabitant should be able to coexist with the present culture, but by adhering to a structured framework in order to coexist. Just as a building can be an extension of its userâ&#x20AC;&#x2122;s personality, I believe the Farnsworth House enables the ability for people to reconnect with the natural surroundings; an issue that has become increasingly apparent in todayâ&#x20AC;&#x2122;s society.

While some buildings can be built purely for u litarian purposes, I view the Farnsworth House as living alongside its inhabitant. Physical elements such as the ligh ng and switches are concealed to provide subtle ligh ng, an aspect I find appealing as it bathes its surroundings in a glow than as harsh ligh ng.

1 SENDAI MEDIATHEQUE 2 FARNSWORTH HOUSE, PHOTOGRAPH Ludwig Mies Van Der Rohe, 1945-51, Farnsworth House, photograph, <h p://www.designinforma onalliance.org/ sites/default/files/visits-discoveries-images/farnsworth_house_gmad06_3_0.jpg> [accessed 16 March 2013].

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| ABPL30048 ADS: AIR

| PART 01

| CASE FOR INNOVATION

Part 1 case for innovation

01 A.2. computational architecture

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| PART 01

| CASE FOR INNOVATION

| A.2. COMPUTATIONAL ARCHITECTURE

“In a radical departure from centuries old tradiƟons and norms of architectural design, digitallygenerated forms are not designed or drawn as a convenƟonal understanding of these terms would have it, but they are calculated by the chosen generaƟve computaƟonal method.”

(Kolarevic, B. 2003)1

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Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York, London, Spon Press, 2003), pp. 13.

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| A.2. COMPUTATIONAL ARCHITECTURE

| COMPUTATIONAL ARCHITECTURE

introduction to computational architecture The role that computers play in design processes are not intended to formulate ideas for the architect, but to supplement and aid them by crea ng virtual replicas of ideas to test its desired effect coincides with those intended by the architect.

As well as to generate virtual designs, CAD programs conforms to ra onal forms that are restricted to a series of parameters to reflect the refi nement process based on the final product’s feasibility and ability to meet the design’s criteria.

As a major issue for designers is to create 3D designs, computers subs tutes much of the physical dra ing or sketching to reduce me and effort spent by designers on a process.

Two paradigms of the architectural design process involves the trasi ons Puzzle Making and Problem Solving to produce goals and solu ons to suit problems as well as to a ain goals to fulfi l expecta ons. As computers follows mul ple parameters pre- programmed, their generated designs are ra onal and rule based to constrain to the limita ons of the project.

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| A.2. COMPUTATIONAL ARCHITECTURE

| COMPUTATIONAL ARCHITECTURE

computational architecture

The role that contemporary computa onal designs play in the design process should, as Yehuda Kalay argues, be one that assists its designer by taking care of the minor specifica ons and detailings while the designer focuses on fulfiling the goals set to develop the project’s expecta ons.

This ensures CAD systems to bolster the designer’s toolkit by making changes to the design when the designer changes the specifica ons to save me and effort otherwise consumed when dealing with a hand-drawn equivalent. Computer so ware can also help visualise complex forms and aid in the fabrica on process by fabrica ng the desired components to be assembled.

Addi onally, such techniques also eliminated the factor of human error during the dra ing phase, where minor discrepancies can have detrimental concequences in the final product. The computa on method allows the poten al of architectural designs not to be limited by the designer’s visualisa on and the fabricator’s abili es.

As the developed design is refined by way of ra onalisa on, the refinement process works to iden fy problems and solve them by imposing constraints that makes the final outcome possible to fabricate.

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| A.1. ARCHITECTURE AS A DISCOURSE

| VITTORIO GIORGINO| LIBERTY CENTRE

vittorio giorgini liberty centre (1962)

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Due to the computa onal architecture, various design methods have evolved.

One of the intriguing computa onal architectural discourse is topology.

Topology allows the designer to focus upon the intrinsic, qualita ve geometric forms unaffected by changes in size or shape; allowing them to focus more on the rela onal structure between an object’s edges and ver ces rather than its geometry outline.

As the topological transforma ons affect the rela onal structure, this can in turn change the object’s resul ng form.

A par cularly interes ng element of topology is its dominance over the forms of the rela onal structure.

Vi orio Giorgini, 1962, Liberty Centre, photograph, <h p://archpaper.com/uploads/Giorgini_LibertyAerial.jpg> [accessed 23 March 2013].

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| A.1. ARCHITECTURE AS A DISCOURSE | VITTORIO GIORGINO

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| LIBERTY CENTRE

1 BIRD’S EYE VIEW OF LIBERTY CENTRE 2 LIBERTY CENTRE, PHOTOGRAPH

An interes ng example of topological architecture was Vi orio Giorgini’s wire- mesh construc on Liberty Centre constructed in upstate New York, designed to be a community centre for the town of Parksville. The structure is comprised of mul ple curvatures similar to those found in a mobius strip.

This structure was constructed in 1976 by students of the Pra Ins tute under Giorgini’s supervision, and was intended to be concreted yet was eventually demolished due to a lack of funding.

As such, the topology has the effect to “blur” the dis nc ons between the exterior and interior spaceso to avoid the dis nc ve quali es between “inside” and “outside”.

Vi orio Giorgini, 1962, Liberty Centre, photograph, <h p://cdnimg.visualizeus. com/thumbs/d3/5b/architecture,rebar,reinforced, concrete,under,construc ond35b013ac109d0 4ca5cca79e8dab-5d1h.jpg> [accessed 23 March 2013].

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| ABPL30048 ADS: AIR

| PART 01

| CASE FOR INNOVATION

Part 1 case for innovation

01 A.3. parametric modelling

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| PART 01

| CASE FOR INNOVATION

| A.3. PARAMETRIC MODELLING

At first glance, Parametricism seems to allow designers to access a new dimension of designing possibili es. I find that the act of simply defining the design’s parameters allows a wider freedom to fabricate ideas, and that much of the workload is removed and taken care of by the so ware.

It would seem like the ideal answer, with Patrik Schumacher hailing parametricism as a “creditable, sustainable answer to the crisis of modernism that resulted in 25 years of stylisƟc searching” (Schumacher 2010).1 An excep onal element in the realm of parametrics is also its defini on as a program where the style or design can be researched.

However its key feature also seems to be the limita on of the stylewhere the created form may only exist in a laptop or computer so ware. Preceeding styles, including modernism and deconstruc vism, share dis nguishing features that are defined as a style.

Parametricism, on the other hand, relies more on the rela onships between the nodes within a system for the form’s aesthe c value.

Would architecture reach a point where designing becomes less from the human factor, but a product of algorithms and mathema cs?

I believe that parametric architects need to consider more about the nodes and how they relate to each other to con nue thinking crea vely.

Just as pens, erasers and rulers can aid the designer, the computer is also a tool to bolster the individual’s work. But they should be careful that their designs are not reduced to computerised limita ons and parameters, but control these tools to support the designer, rather than replace them.

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Patrick Schumacher, ‘Patrick Schumacher on Parametricism- “Let the style wars begin”’, Architect’s Journal <h p://www.architectsjournal.co.uk/the- cri cs /patrik-schumacher-on-parametricism-let-the-style-warsbegin/5217211.ar cle> [accessed 30 March 2013].

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| A.3. PARAMETRIC MODELLING | VARIOUS ARTISTS

Various artists yorkshire diamond (2009)

| YORKSHIRE DIAMOND

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The Yorkshire Diamond consists of a diamond la ce structure made up of inflatable tubes with an excavated interior. The la ce structure is arranged to the atomic structure of a diamond and the tubing pa erned geometrically. Each tube has been precision cut by a computer controlled cu ng machine to ensure each component and shape is uniform when it’s inflated.

I find that using computer so ware has allowed this design to be possible, even with scale models it would be virtually impossible to fabricate the individual piece, much less determine without virtual simula on whether it its possible to build.

3 1 DIGITAL PHOTO OF YORKSHIRE DIAMOND 2 PROPOSED MODEL OF CAFE- LOUNGE INTERIOR 3+4 NATURAL VENTILATION AND DOUBLE- LAYERED SKIN OF THE LATTICE STRUCTURE’S TUBING 2

Various Architects, 2009, Yorkshire Diamond (Cafe- Lounge Interior), photograph, <h p://ad009cdnb. archdaily.net/wp-content/uploads/2009/02/1264202964_cafeloungeinterior.jpg> [accessed 01 April 2013].

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The la ce structure incorporates established inflatable technology to create a stable 3D structure; adding stability to a mul ple domed units made up of a triangulated network of tubing with double layered cushions. Due to the pressurisa on system and the closely monitored fans installed, the structure will remain structurally rigid; even when the surface has been pierced or damaged.

Various Architects, 2009, Yorkshire Diamond/ Yorkshire Renaissance Pavilion, digital rendi on, [accessed 31 March 2013]. <h p://c1038.r38.cf3.rackcdn.com/group5/ building40910/media/hblp_2.jpg> <h p://www.archicentral.com/wp-content/ images/1125720871_diagram-ligh ng.jpg>

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| A.3. PARAMETRIC MODELLING

| DANIEL LIBESKIND

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The structure weighs seven tonnes , consists of 98 seperate towers and made up of over two thousand unique pieces. The design is based on a triangular grid, with each of the towers 3.8 meters high each built from about 600 wooden parts intersec ng the sculpture at a precise angle of 25 degrees whilst immita ng the towerâ&#x20AC;&#x2122;s founda on pa ern.

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Daniel Libeskind, 2005, Futuropolis, photograph, <http://www. designtoproduction.ch/content/view/12/41/> [accessed 01 April 2013].

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| FUTUROPOLIS

| DANIEL LIBESKIND

| FUTUROPOLIS

Daniel Libeskind Futuropolis (2005)

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One benefit of parametric design, such as Vectorscript, allows designers to model their parametric model digitally. The Futuropolis design is a seemingly complex structure based on simple parameters and defini ons set out by the designers that the computer obeys to digi se the proposed form.

The structure incorporates simple virtual parameters to create principles and limita ons for the Vectorscript so ware to use to digi se the sculpture. The design is based on an algorithm to restrict the design to manufacture and construct the sculpture to serve as the basis for manufacturing and construc ng the structure.

With the help of parametric design so ware, Daniel Libeskind has been able to fabricate the Futuropolis sculpture within two weeks and saving over 70% of produc on costs.

1+5 FUTUROPOLIS, PHOTOGRAPH 2 ASSEMBLY PROCESS OF FUTUROPOLIS SCULPTUREINDIVIDUAL PIECES ARE ASSEMBLED TOGETHER IN GROUPS 3 VIRTUAL OUTLINE OF MODEL, ENLARGED SECTION OF ONE ELEMENT SHOWS HOW THE PIECES CAN FIT TOGETHER 4 TECHNICAL SPECIFICATION OF CONNECTION

Daniel Libeskind, 2005, Futuropolis, <http://dinofracchia.photoshelter.com/image/I00008CkvgIjpi1w> [accessed 01 April 2013].

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| ABPL30048 ADS: AIR

| PART 01 | CASE FOR INNOVATION

Part 1 case for innovation

01 A.4. algorithmic explorations

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| PART 01

| CASE FOR INNOVATION

| A.4. ALGORITHMIC EXPLORATIONS

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Iâ&#x20AC;&#x2122;ve extended on the grasshopper commands covered in the weekly tutorial videos, with my first a empt created by combining a few of the commands to experiment with the result.

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As I understand the parametric so ware processes the inputs via the command, I have experimented with the poten al models by feeding suceeding commands with respec ve inputs. Compared to crea ng from RHINO or physical dra ing, parametric modelling reduces much of the workload I would have undertaken.

4 1-4 DELAUNAY EDGES COMMAND CREATED FROM LOFTED SURFACE USED 5-6 SUBTRACTING ELEMENTS FROM VORONOI 3D COMMAND

This research, I believe, has worked to further expand on the poten al of the used commands, and to explore the extent that the parametric design can be taken.

On the le are a sequence of stages to develop the form using poten al Grasshopper commands, though much of the work came through trial and error. While most of the designing workload was gone, it was replaced with compu ng inputs and outputs to reach the final outcome.

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| ABPL30048 ADS: AIR

| PART 01 | CASE FOR INNOVATION

Part 1 case for innovation

01 A.5. conclusion A.6. Learning outcomes

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| 01 CASE FOR INNOVATION

| A.5. CONCLUSION

a.5. conclusion From my experiences with parametric modelling over the past few weeks, I realise this new discipline requires a new way of thinking. Unlike the RHINO so ware during Virtual Environments, parametric modelling requires understanding of how elements of the nodes relates to one another.

Ini ally, my opinions was that architectural compu ng aids the designer but feared it removed the human input from the design process. While the algorithms control the resul ng form, it is humans who designed the algorithms, and the human element will be ever- present in architectural prac se.

| A.6. LEARNING OUTCOMES

a.6. learning outcomes The introduc on of parametric so ware has created new poten als and possibili es in Architectural design.

The use of parametric modelling has allowed the crea on of new architectal structures to be possible. Such building structures allows the form to become more organic and fluid, allowing more freedom to designer’s poten al. As the form responds to its immediate environment to affect the audience’s experience, a well- designed form will create discourse in the local popula on to encourage social discussions and debates.

Just as architecture can be seen as a social experiment; parametric modelling is the design medium where the network of architectural conversa on can exist and thrive in the built environment.

If I had this knowledge during Virtual Environments, the final product would be very different as a new dimension of poten al ideas would be availible to explore. Addi onally, the algorithmic codes would reduce the workload to give freedom to discover new designs.

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| ABPL30048 ADS: AIR

| PART 02

| DESIGN APPROACH

Part 2 DESIGN APPROACH

02 B.1. DESIGN APPROACH

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| PART 02

| DESIGN APPROACH

“Instead of classical and modern reliance on rigid geometrical figures – rectangles, cubes, cylinders, pyramids and spheres – the new primiƟves of parametricism are animate geometrical enƟƟes – splines, nurbs and subdivs.”

(Schumacher, P. 2010)1

| B.1. DESIGN FOCUS

DESIGN FOCUS Following discussions with the group members, the parametric approach was decided to be Geometry as the project’s main design principle. The principles of ordered and geodesic shapes created means the model would be ra onalised and harking towards the computa onal approach to parametricism, yet promises complex and intricate forms whose buildability is only possible by the poten al of Parametricism.

As a parametric approach, Geometry is believed to support Parametricism as the style uses ra onal logic computa onal design as key defini ons for the generated form, while Geometry relies on logical reasoning and quan fiable parameters as its forms’ style. But Geometry isn’t restricted within the confines of conven onal geometrical shapes, instead uses “animate geometrical enƟƟes- splines, nurbs and subdivs”, as argued by Patrick Schumacher as elements in a system (Schumacher, P. 2010)1. Yet while such argument only sees Geometry as building elements, it leaves li le for the design approach alone to make up the overall form; and may rely on other approaches to enhance the form for a more complex result.

The SG2012 Gridshell incorporates geometry and structure for the mber’s self- standing framework.

Pa ern is present by the arrangement of straight wooden beams along geodesic lines and material performances by researching and exploi ng the mber in an effec ve and natural manner (Smart Geometry, 2012)2. Geometric designing can focus on the construc on of the form, and may rely on simple rules for the so ware to follow. Such rules may include minimising the surface tension, as demonstrated in the Green Void’s freely stretched surface within its space to produce a naturally flowing form. This can also ensure a minimal maintenance required and a rapid installa on peroid (Bosse, C. et. al. 2008)3.

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Patrick Schumacher, ‘Patrick Schumacher on Parametricism- “Let the style wars begin”’, Architect’s Journal (2010), (Greater London House, Hampstead Road, London), < h p://www.architectsjournal.co.uk/the- cri cs /patrikschumacher-on-parametricism-let-the-style-wars-begin/5217211.ar cle> [accessed 30 March 2013].

2 Smart Geometry, ‘Gridshell, Smart Geometry’, MATSYS (2012) <h p://matsysdesign.com/category/projects/sg2012gridshell/> [accessed 10 April 2013].

3 Chris Bosse, Tobias Wallisser and Alexander Rieck, ‘Green Void’, Archdaily (2008), <h p://www.archdaily. com/10233> [accessed 10 Apr. 2013].

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| PART 02

| DESIGN APPROACH

| B.2. CASE STUDY 1.0

SPARSE

Case Study 1.0: Geometry DISPERSED

AMPLE The inten on of this process was to find what effects the dispersal and quan ty of the elements can have on a given space, with a crowded space being ideal for enclosing and lanke ng while a par al space would divide the no on of internal and external spaces- with large generated gaps producing viewports to the other side.

Using the Case Study VoltDam as the basis, the variables of the number of elements (# Points) present and the organisa on of them (Seeds #) were used to experiment different possible outcomes. These selected variables were found to have a profound change on the form’s overall result.

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| PART 02

| DESIGN APPROACH

| B.2. CASE STUDY 1.0

ORGANIZED

Understanding what effect changing one variable can have can help develop the model’s poten al, or by selec ng the most effec ve elements for their overall result. Experimen ng with variables like the number of points created within a 2D space or dispersion of elements doesn’t result in a linearly fixed change.

Instead, the varia on as the inputs are slightly altered would dras cally change the organisa on of the shapes, while introducing more cones disperses the other cones in the space. However other variables may only slightly change elements, such as the cone’s height, radius and open hole size.

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| ABPL30048 ADS: AIR

| PART 02

| DESIGN APPROACH

B.3. CASE STUDY 2.0 REVERSE ENGINEERING THE CANTON TOWER

Information Based Architecture, 2010, Canton Tower, photograph, < http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/11/1290020723-img-6813amedlogo-528x352.jpg [accessed 13 April 2013].

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| PART 02

| DESIGN APPROACH

| B.3. CASE STUDY 2.0

Reference curves (5) intro Grasshopper, lo curves into surface Ver cal Geodesics: - Divide Surface, Simplify Points data - U= 10, V= 18

Diagonal Geodesics: - Divide Surface - Simplify Points data - Graph Points data - U= 10, V= 18

Flip Matrix: data tree inverted, data branches designates columns of points.

Rela ve Item: - Lines created by rela ce oďŹ&#x20AC;set input - Rela ve OďŹ&#x20AC;set Item Combo= {0;0}, {1;1}, {0,0}

Polyline: - Line created through series of points

Fit Line: - Create lines through series of points

Merge: - Data from Ver cal and Diagonal Geodesics combined

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| PART 02

| DESIGN APPROACH

| B.4. TECHNIQUE DEVELOPMENT

Technique Development

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| B.4. TECHNIQUE DEVELOPMENT

| TECHNIQUE EXPLORATION- ITERATIONS

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| PART 02

| DESIGN APPROACH

| B.4. TECHNIQUE DEVELOPMENT

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| B.4. TECHNIQUE DEVELOPMENT

| TECHNIQUE EXPLORATION- ITERATIONS

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B. 5. Technique prototypes

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| B.5. TECHNIQUE PROTOTYPES | PROTOTYPE SECTIONS AND JOINTING

Exploring basic materials that have different rigidity, and joints used can change the flexibility between the joined members.

Rigid materials like balsa wood have li le flex while bri le whereas cardboard allows for greater movement. Fixed joints will anchor members to inhibit movement while overlapping joints allow more freedom.

Experimen ng with the idea of ‘joint and structure’ in sec on models and the versi lity and aesthe c affects of forces by distor ng a form with varying flexibility based on the materials used.

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| B.5. TECHNIQUE PROTOTYPES

| FLEXIBILITY OF THE ELEMENTS

A er having a clearer understanding of the design inten on and a poten al direc on within the group for the desired form, prototyping models was the next stage. As a main focus was towards a structure with rigid and flexible components, understanding the materials to use and the degree of freedom it fosters can achieve unexpected and interes ng ideas and concepts.

Another important focus is crea ng form from geodesic shapes, and would have much poten al to serve as a public sculpture project. The no on was from manipula ng the original form by applying forces, new contours and forms can be endlessly generated.

It is important to note that the modelâ&#x20AC;&#x2122;s materiality can determine the resul ng form. For instance, using flexible materials widens the freedom the model is allowed to move, but sacrafices a structural support to resist warping into irregular forms. A model used to explore this phenomenon consists of a simple geodesic form made of pipecleaners. While movement is uninhibited, the structure is prone to buckling; distor ng into irregular forms from forces applied. I believe this would have severe visual impacts if the model distorts beyond recogni on.

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| PART 02

| DESIGN APPROACH

| B.5. TECHNIQUE PROTOTYPES

It is intriguing to note that distor ons have rela onal effects. Forces applied on one sec on would affect other connected sec ons, and behave structurally as a whole.

This effect of change in the structure has created further development of the poten al design for the Western Gateway project.

Firstly, a series of pipecleaners threaded through straw segments are fixed on a rigid surface.

A second layer of pipe cleaners added; connected at intervals between the straws to create a basic grid-like form. Pieces of twine was then a ached at the intersec ons, as a result, the model becomes a network of rigid members and flexible joints.

And by applying forces from the twine the form changes greatly, causing the model to “a ract” towards the force.

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I have discovered that fixing points would anchor them to keep them sta c. While the unaffected members are free to move within the “plane” created, applying forces on the twine causes the model’s sculptural structure to distort into new and interes ng forms. This lends itself to the no on of an ever- changing percep on of design that leaves different impressions on its audience.

| B.5. TECHNIQUE PROTOTYPES

| FLEXIBILITY OF THE ELEMENTS

Another area to experiment was the flexibility of models with rigid sec ons and members allowed to flex and move freely. In other words, exploring the affects created when whole sec ons are en rely rigid and the rest is subjected to external forces.

The rigid sec ons have greatly restricted the model’s flexibility, thus reducing its capability to respond to forces. In such models where sec ons are made of mountboard and pipe cleaners, its composi on becomes too controlled and resul ng movements become predictable and s ff.

This applica on of rigid sec ons would prove useful for controlling parts of the model, but would need to be used judiciously to suceed.

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| B.5. TECHNIQUE PROTOTYPES

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| FLEXIBLE ELEMENTS

| B.5. TECHNIQUE PROTOTYPES | ENTIRELY FLEXIBLE STRUCUTRE

Above: Experimenta on of “invisible” or unseen suspension of the form and the result of forces applied to manipulate the aesthe c form of a malleable sculpture.

Photos courtesy of Jus n Milesi and Hanna Morgan.

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| B.5. TECHNIQUE PROTOTYPES

| FLEXING STRUCTURE

An explored direc on undertaken by group members Jus n Milesi and Hanna Morgan was a model created using four pipe cleaners twisted together and fishing string a ached to the halfway points of each members. It was discovered that by the form appears to be suspended in midair , while applied forces via the wires evoked much poten al ideas of applying this as a public sculpture.

The manipula on of the wires by unseen forces (eg. wind, temperature, light etc.), the form could endlessly change; contor ng into new and unpredicted shapes.

A poten al applica on would be to suspend the form next to the road and allow itself to distort over me by said forces; allowing them to be translated by their involvement itowards the formâ&#x20AC;&#x2122;s â&#x20AC;&#x153;evolvu on.

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B.6. Technique proposal The inves ga on of an installa on with expansive and manipula ve members has been been expanded upon and new, poten ally innova ve ideas have been discovered to be used as techniques. For a refined and more flexible solu on, it is clear that that the unique propoer es of moving elements within the sculpture and dynamic mo on due to pivo ng and bendable joints are worth exploring in depth.

Another proposal originated from focusing the flexible movements using more compa ble materials including elas c, wire and tubing. In contrast to the previous models, with flexible longitudinal members and rigid sec ons, the roles were reversed and the sec ons might consist of elas c circular tubing; allowing the sec ons of the sculpture to “inhale and exhale” like a pair of lungs via the manipula on of the elas c elements.

The construc on and “breathing mo ons” of such idea may seem innova ve and challenges to redefine the tradi onal nature of sta c sculptures, though using elas c materials in real scale would be unrealis c and would be vulnerable to the elements.

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| B.6. TECHNIQUE PROPOSAL

| DYNAMIC ELEMENTS AND COMPONENTS

Photos courtesy of Jus n Milesi and Hanna Morgan -42-

| B.6. TECHNIQUE PROPOSAL

| DYNAMIC ELEMENTS AND COMPONENTS

Proposals of dynamic movement including intelligent engineering of pump- andhydraulic systems can be adopted to cause the sculptural form to “breathe” in reality.

An idea discussed was to install a pumping device containing a one- way valve designed to “contract” when compressed; expelling the contained gas/ liquid into the connected circular sec ons causing it to inflate based on the forces applied, much like a balloon infla ng within the structure; expanding the overall form. Another proposal discussed was to run a compressive tubing filled with gas underneath the road (between sites A and B) and connected to hydraulic jacks, so that when cars drive over the pump the piping is compressed; forcing the stored gas to move the hydraulics that move in different direc ons that manipulates the sculpture’s form.

In response to the site, the sculpture may respond to the site’s environmental elements to “breathe” for an otherwise sta c landscape, and while geodesic forms would appear too man- made and less natural, a dynamic form can become more integrated with its surroundings.

Photos courtesy of Elise Weavers

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| B.6. TECHNIQUE PROPOSAL

| DYNAMIC ELEMENTS AND COMPONENTS

Thirdly, instead of using gases, water can be used, and plants might be designed to grow upon the structure as a no on of its “connec on” with nature. When the tubing is compressed, the water may be secreted from the structure’s surface to “water” the growing plants. With the growing plants, increasing rigidity of the sculpture may have a longterm transi on where the growing plants causes the form to lose its rigidity and obtain a monumental form to the point that over a peroid of 10- 20 years, the structure would be en rely reclaimed by the natural surroundings and become integrated with its environment.

Photos courtesy of Elise Weavers

However, the drawbacks for this proposal would be the development and produc on of the form via parametric so ware, as parametric programming are easier to use when the geometry is not yet defined. As a result, so ware programs including RHINO and Grasshopper needs to be considered for the resul ng aesthe cs, while addi onal Grasshopper plug- ins including Kangaroo would be used to consider the physical, structural andenvironmental (wind, temperature etc.) forces that would contort the sculpture, and Heliotrope to consider the sunpath and ligh ng when viewed by its passing audience.

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| B.6. TECHNIQUE PROPOSAL

Con nuing from the Canton Tower as a tubular, structurally fundamental form, we were interested in exploring a worm- like form from the beginning as the basis of our design. The ini al design was to have a “worm” burrowing and emerging through the site; crea ng the illusion of a massive being underneath the earth. But to connect the idea to the site, further research was required.

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| WORMING INNOVATION

An unrealised project, The Urban Earth Worm by Lee Seungsoo, was found by Elise Weavers, a similar worm’ like design but integrates a waste management system within the structure. In a sense, just like earthworms in reality, would integrate itself with its immediate environment and support its surrounding’s wellbeing.

| B.6. TECHNIQUE PROPOSAL

The earthworm as a structure incorporates a similar la ce- like structure explored in preceeding designs, with different altera ons depending upon the earthworm’s internal systems. As like our explored model, the earthworm’s structure undulates and distorts in order to move; lending further argument towards basing future explora on on a worm- like design as a dynamic form.

| WORMING INNOVATION

| Concept Rendi on of Urban earth Worm by Lee Seungsoo

Lee Seungsoo, 2013, Urban Earth Worm, digital rendi on, >h p://www.evolo.us/wp-content/uploads/2013/ 03/0060-urban-earthworm-0.jpg> [accessed 11 May 2013].

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| PART 2

| DESIGN APPROACH

| B.7. ALGORITHMIC SKETCHES

B. 7. ALGORITHMIC SKETCHES The generated algorithmic sketches defines the skeletal structure of the sculpture and an exhibited structural effiency of its framework.

By minimalising the structure to its basic forma on bestows an honesty of materiality via the exposure of the sculpture’s elements and the truthfullness of exposing the structure.

Parametric designing has allowed us to achieve the op mal structurally efficient form with great ease. Further altera ons of the form including twis ng and altering the parameters can be achieved for a desired aesthe c.

However the presented sketches represents a sta c sculpture; devoid of actual dynamic movement. Altering the resul ng model’s control points can affect the form to some degree, but falls short in terms of accuracy.

Grasshopper plug-ins such as Kangaroo can be used to impliment the disired distor ons and forces by movement to the framework.

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| DESIGN APPROACH

| B.8. LEARNING OBJECTIVES AND OUTCOMES

B. 8. LEARNING OBJECTIVES AND OUTCOMES

The feedback provided during the midsemester presenta on was very informa ve and useful. One objec ve to be addressed was how the form would be affected by natural processes, and what kinds of forces they are. Further development proposed that forces such as hydraulic piping can be used to manipulate the form , or other forces including wind/ rain and heat can influence the form.

Further research and development has discovered the micro organism concept discussed earlier, that such organisms have been known to process wastewater to break them down into their components, but instead consumes oxygen and generates biogas. Such biogas are currently used to power gas turbines in green power plants. And given that Wyndham has been adver sed for its Green and Sustainable environments and way of life, it is possible To relate towards nature and the atmosphere, that such an explora on can further the comsump on of carbon dioxide and Wyndham’s ambi ons and further reflect expulsion of oxygen can be used,. This can and adver se this innova on what places be implemented through integra ng the Wyndham on the map. By openly discussing structure with microorganisms as used in the limita ons of our presented design exis ng wastewater treatment devices, we were able to convey a strong proposal and be done passively with only an annual for our Wyndham project. Our case for maintenance to sustain its func on. This proposals were supported with detailed rela onship would not only be beneficial prototypes that simulate a desired affect. for the environment, but also contribute towards the no on of “breathing space” Past research including that of the Canton as an innova ve idea- a pair of lungs that Tower, Gridshell and the Urban Earth breathes in carbon dioxide and breathes out Worm have allowed us to deconstruct oxygen. However this development is far from the data within Grasshopper and use completed and required further research to them for our advantage. A wealth of discover poten al shortcomings. poten al outcomes stems from a dynamic Considering social and cultural influences was sculpture and a developed explora on also discussed. For example, we need to know towards environmental rela onships what impact this sculpture would have to its with its surroundings gives promise to society. As it was suggested that we consider further reflect the city of Wyndham and the sculptural installa on to be unique and its environmental virtus through the unusual in its approach. possibilites of parametric modelling.

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| ABPL30048 ADS: AIR

| PART 03

Part 3 PROJECT PROPOSAL

| PROJECT PROPOSAL

03 C.1. GATEWAY PROJECT: DESIGN CONCEPT

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| PART 03 | PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

Gateway Project: Design Concept

“The pracƟse of architects needs to confidently reflect the nature of the architecture. Architecture must be immaterial and porous, as well as solid and stable where necessary...” (Hill, J. 2006)

Based on the feedback recieved from the criteria jury from the Expression of Interest Presenta on, we were prompted to refine and elaborate upon the influences of natural processes., its rela on to discourse, the socialcultural impact and the forces incorporated to make the form dynamic.

In addi on, we needed to explain what the natural processes were, and its relavence towards the design concept. The natural process used was based upon the earthworm, its dynamic movement through undula ons in its vertebre and the symbio c rela onship it has with its surrounding environment. The earthworm, is a creature with a mutually beneficial link with nature, able to breakdown unusable organic ma er into more usable resources for its environment to use. This has the poten al for much discussion for architecture with an in mate rela onship with its environment; capable of responding with the site and even suppor ng the environment’s welfare.

The social- cultural impact due to the proposal must be examined. Just as the proposal is portrayed as the “gateway” for Wyndham, it serves to represent the city for visitors and promote its exis ng virtues. The city has been adver sed as boa ng pure, natural a ributes and its deep integra on with its natural environment, with this way of Green Living suppor ng our prior argument of a naturally integrated concept. The case of key environmental forces to make the sculpture dynamic was also discussed. With a dynamic structure serves to a ract the audience’s a en on, a form that ac vely responds to its environmental condi ons holds promise to reconnect the audience with their disconnected environment. With this no on, the structure encourages people to “get back in touch” with nature.

Jonathan Hill, ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10 (2006), 1 (p. 54).

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| PART 03

| PROJECT PROPOSAL

Green walls and Materiality The case of growing plants on the structure was discussed previously as a means to reintegrate the structure with its surroundings. In order to achieve this, the materiality that supports plant growth must be known. Creeper plants are known to grow from the ground and adhere to ver cal surfaces, such as the Five- leaved Ivy, yet other innova ve designs exist that uses the “ver cal garden” idea. Green Walls includes the “Green Facade” category; where creeper plants adhere and grow directly onto exis ng surfaces, which this type of growth is independent to the strucuture’s materiality.

Geotex les are permeable fabrics made of polypropylene or polyester, when used together with soil, can sustain virtually any plants, with other requirements including an irriga on system and a means to circulate the soil to reintroduce new nutrients for the plants to use. Compared to creeper plants, geotex les are unnecessary to foster such plants, but is compulsory for the alterna ves.

Such material is ideal to allow the structure to literally “breathe” carbon dioxide and expel oxygen through photosynthesis, yet the shortcomings of flexibility means that such media is rigid and would become less flexible as the plant growth develops.

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1+3 Ini al facade of Consorcio headquarters 2 Concept rendi on of fully covered facade of Consorcio headquarters -51-

| PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

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Exis ng Green Wall Projects includes the facade of an office in Concepción, Chile

by Enrique Browne Arquitectos, which creates a living facade of bougainvillea, jasmine, and plumbago and is expected to fully cover the facade in two more years.

Such design was dedicated to revitalize the space between Enrique Browne Arquitectos‘ Consorcio headquarters and the city’s only church, with the renewed construc on working to develop a link between the past and the present.

This green wall design implies that the growth of non- creeper plants is possible even without a soil system to sustain the growth, yet s ll requires a surface to adhere to and a base where its roots can draw nutrients from. In rela on to the proposed structure, plan ng at the base would fulfil this criteria.

Arquitectos, Enrique B. 2009, Consorcio Headquaters, digital rendition [accessed 16 May 2013]. < http://inhabitat.com/2009/01/29/consorcio-headquarters-by/> < http://www.inhabitat.com/wp-content/uploads/concephq-ed03.jpg> -52-

| ABPL30048 ADS: AIR

| PART 03

| PROJECT PROPOSAL

The Bioworm Conception

Expanding from the green wall idea, another proposed was instead of the en re structure moving and covered by a growth layer, the structure could instead produce biofuel; drawing upon resources present in the environment to passively produce a clean fuel source for the audience’s cars. One major benefit to this proposal is that this concept would be giving back to the environment, much like the earthworm.

Another would be to promote biofuel as a gasoline alterna ve, or be used to produce electricity for electric cars.

Either way, the produced resouce can be transported to the local petrol sta on; a gesture indica ng the structure’s compliments the exis ng features in the site.

For the structure’s geometric form, the Canton Tower, as explored earlier, can play an important role in the structure’s overall form, with the shape lending much promise structurally and due to its cylindrical components along the facade.

1

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2

The Urban Earth Worm, which as a powerful precedent, is poten ally useful due to the Earthworm analogy and the func onal role it plays for its environment, as well as defining the overarching form that buries in the ground.

1 Canton Tower by Informa on Based Architecture 2 Concept of Urban Earth Worm by Lee Seungsoo

Informa on Based Architecture, 2010, Canton Tower, photograph, < h p://ad009cdnb.archdaily.net/wp-content/ uploads/2010/11/1290020723-img-6813amedlogo-528x352.jpg [accessed 13 April 2013].

Lee Seungsoo, 2013, Urban Earth Worm, digital rendi on, <h p://www.evolo.us/wp-content/uploads/2013/ 03/0060-urban-earthworm-0.jpg> [accessed 11 May 2013].

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| PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

Drawing further inspira on from the earthworm analogy, we believe that we can produce a structure capable of giving back to its environment. As with the Urban Earth Worm, the structure can have a func oning role. Biofuel, as produced from algae, is a poten al explora on; where the structure can consume carbon dioxide and produce a greener energy source to be used by the popula on.

In rela on to Wyndham, the city has been known for its natural landscapes and green energy produc on; making this structure not only analogous to benefi ng nature, but can serve to promote the cityâ&#x20AC;&#x2122;s eco- friendly virtues.

Using the earthworm as the base shape, mul ple itera ons were produced with varying degrees of curve densi es and direc ons (straight, diagonal, twis ng etc.).

1.

2.

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4.

5.

6.

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| PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

8.

1 Linear components running along the length of the Bioworm 2 Criss- crossing tubing across en re surface 3 The “skeleton” part of the structure, reduced elements at “bulges” 4 High density of crossing tubes, members absent along bulges 5 Higher density tubing, density expanded along “bulges” 6 Consistent tubing over surface 7 High density tubing, tubing absent at bulges 10. (FINAL) Final Itera on, medium density 8 Low density tubing, more spaced apart and tubing, tubing absent across bulges, easier to view cross- tubing moderate density of tubing ensure most 9 Skeletal structure, sparse tubing along efficient method for algae to absorb sunlight. length 9.

Model Itera ons courtesy of Elise Weavers -56-

| PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

Referenced Curve

Divide curve into 100 segments Create NURB curve Divide length into 6 equal segments

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Create Perpendicular Frames

Reference attraction point with Threshold and Attraction Force Threshold = 35.15 Attraction Force = 4.19

| PROJECT PROPOSAL | C.1. GATEWAY PROJECT: DESIGN CONCEPT

Flattern Components

Offset objects by 16

Create line between points, measure lengths

Explode Polygons into components Create Polygons

Remove values less than 10, convert data into lines.

Measure distances between unattracted and attracted points, filter range for data.

Min. value= 2.64 Max. value= 6.58

Convert Lines to tubing Radius= 0.2

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| PART 03

| PROJECT PROPOSAL

| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

C.2. Gateway Project: Tectonic Elements

While defining the structure’s form contributes much to the resul ng effect, its loca on, placement and scale in rela on to its site and immediate surroundings can enhance its implied messages and pays homage by reflec ng the surrounding that it occupies. Six itera ons were explored with varing orienta on and repeated curves to find the most sucessful outcome.

IteraƟon 1: Structure over Northbound Road Orientated towards Wyndham Maximise Eastern and Western sunlight

IteraƟon 2: Structure over Site A Orientated to follow site’s curvature Maximise Northern sunlight

IteraƟon 3: Structure repeated 4 mes Orientated towards Wyndham, follows Wyndham- bound Route Maximise Northern sunlight

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| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

IteraƟon 4: Structure repeated 6 mes, divided into 2 curves of 3 1 Curve follows Site A’s curvature, other curve towards Wyndham Maximise Northern sunlight

IteraƟon 5: Structure repeated 6 mes Orientated to form arrow poin ng towards Wyndham Maximise Northern sunlight

Final IteraƟon: Structure over Site A Orientated to follow site’s curvature Maximise Northern, Eastern, Western sunlight

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| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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The next stage of the design was to connect the individual structures underground, using the same structure pa ern as the sec ons above the ground. By doing so, the structure is con nuous and are no longer isolated from one another. By connec ng the structure, the Bioworm analogy is reinforced; implying that the surfacing parts of the “worm” is only half of the view structure, with the rest buried underground but s ll playing an important role in the Bioworm’s func ons.

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| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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Con nuing on from the Bioiwormâ&#x20AC;&#x2122;s direc on, the buried sec ons are orientated to follow the same curvalinear direc on taken by its above ground equivalents. This gesture is intended to make the resul ng structure flow smoothly and to behave as a whole sculpture.

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1 Bioworm: Northbound Route, Rendered Preview 2 Bioworm: View from Air, Rendered

| PART 03

| PROJECT PROPOSAL

| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

In order to create the most efficient spacing between the tubes, the medium density tubing is designed to twist across the surface.

This evenly spreads the sunlight across all of the piping, and to create an aesthe c effect by lengthening the tube’s length across the sculpture. The tubing was designated a radius of 0.2m to maximise the piping’s flexibility and number of pipes that can be accomodated.

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| PROJECT PROPOSAL | C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

| Bioworm- Northbound Route, Wireframe Preview

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| PROJECT PROPOSAL

| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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| PROJECT PROPOSAL | C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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1 Bioworm: Southbound Route, Wireframe Preview 2 Bioworm: Eastern Eleva on, Wireframe -66-

| PART 03 | PROJECT PROPOSAL

| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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| PROJECT PROPOSAL | C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

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| Bioworm- Eastern Eleva

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1 Bioworm: Eastern Eleva on 2 Bioworm: Southern Eleva on

| PART 03 | PROJECT PROPOSAL

| C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

To experiment with the sculpture’s buildability, a prototype was constructed.

This tes ng model consists of 4 tubes threaded along the sec on’s length, with a fully opera onal func on of circula ng the stored liquid. As a working model, this model works successfully, but due to the tube’s thickness much of the flexibility is lost, and would require structural support in future designs.

While the circula ng ac on is a key feature, the sculpture’s weaving design renders it imprac cal mewise to fully replicate using the digital design due to the complexity and logis cal degree. One solu on would be to use thinner, more flexible tubing, and reduce the number of weaving elements in the digital design. Another would be to forego the circula on ac on in favor of fully fabrica ng the structure’s en re tubing system.

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| PROJECT PROPOSAL | C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

A side experiment conducted by Elise Weavers was to simulate algae growth under certain condi on. The algae samples were collected from the same pond under the same states and grown over a two week peroid. While not directly related to the sculptureâ&#x20AC;&#x2122;s design, as much of the Bioworm proposal depends heavily on its ability to produce biodfuel from algae, it was deemed necessary to confirm whether algae could grow under the provided condi ons.

1) Sample grown in darkness- par al algae growth but very faint- algae needs sunlight to grow. Maximising captured sunlight would cause rapid algae bloom.

2) Sample grown exposed to external elements- growth was present but severely inhibited, consider enclosed environment

3) Algae grown in condi ons similar to proposed piping. Sunlight and enclosed space present. Ample algae growth present.

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| PART 03

| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

C.3. Gateway Project: Final Model

As one func on of the Bioworm was to demonstrate a dynamic “pumping” ac on to displace the algae, the 1:50 model created of one above- ground sec on comprised of transparent tubing threaded through rigid members perpendicular along the length. A rigid beam of similar dimensions to the tubes was employed for structural support, as well as providing a con nua on to the exis ng facade produced by the pipes.

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The model created by Jus n Milesi was constructed first by threading the steel “spine” through a series of wooden ring sec ons, then secured in place using superglue. The completed structure was then mounted on a wooden board and plas c tubing threaded through the holes in the wooden sec ons; varing in direc on between running lengthwise and twis ng in order to produce an aesthe c effect. 10 transparent tubes were threaded both to create the desired “weaving” effect and to avoid crowding the working model with excessive elements.

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| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

It was observed that when an a ached pump was ac vated, the water with green food dye simula ng algae was able to circulate along the en re structure. Yet once observed, the visual effect was only present when the pump was first ac vated and disconnectec; when the movement of the water was most clearly visible. This was likely due to the water having a uniform texture and difficult to see once fully func onal. One poten al solu on was to include solid debris, such as algae growth through the piping to enhance the visual impact.

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Perspec ve view of Bioworm- note the tubing strucutre and arrangement Illuminated view of Bioworm- with green dyed water Bioworm- close up view of twis ng sec on par ally filled with green colored water Close- up of tubing sec on- note the different effects between tubes fully and par ally filled with water

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| PART 03

| PROJECT PROPOSAL | C.3. GATEWAT PROJECT: FINAL MODEL

Due to the desired func on of the scaled model, it became clear that the model couldn’t be fabricated using conven onal methods. And while a working model was produced, it was incomplete in replica ng the en re structure on the site. It could be jus fied that the structure’s complexity rendered it imprac cal to fully construct the en re structure, and due to the structure’s scale and numerous sec ons virtually impossible to create with the desired detail with the dynamic func on.

One issue with the pump was its lack of power to circulate the water through nearly 22 metres of tubing of the structure. While this wouldn’t comprimise the structure’s composi on a much stronger pump would be used in full- scale without much change to the design.

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| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

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1 Bioworm- perspec ve view of surfaced sec on 2 Perspec ve view of Bioworm sec on -74-

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| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

rigid spine fixed onto disc at rigid joint

3 Rigid joint discs, diameter varies across model. 1:50 scale model comprises of 11 holes- 1 for structural spine, 10 for tubes

Flexible transparent tubing (10) thread through discs at piping connection points 1 Perspec ve view of Bioworm- ground level. Viewing experience of the full- scale structure 2 Bioworm- close- up of twis ng sec on at ground. The twis ng effect creates an aesthe c at from close range

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3 Exploded diagram of sec on construc on. Central “spine” provides support for flexible tubing 4 Bioworm- perspec ve view of above- ground structure.

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| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

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| PROJECT PROPOSAL | C.3. GATEWAY PROJECT: FINAL MODEL

Another shortcoming to the model was while the structure’s spine was camoflaged with the tubing, it was s ll apparent as to what elements were structural.

Addi onally, using a singular spine was insufficient in making the enitre structure rigid.

Yet the swaying effect produced implies reference to the earlier concep on of making the en re structure dynamic and move with external forces.

3

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1 Perspec ve view of sculpture.

Note arching effect of structure 2 Bioworm- close up of twis ng sec on at ground level 3 Bioworm- close up view of tubing running lengthwise

| PART 03

| PROJECT PROPOSAL

| C.4. ALGORITHMIC SKETCHES

C. 4. ALGORITHMIC SKETCHES Parametric so ware has allowed us to achieve complex yet sophis cated designs by defining simple parameters and allowing the computer to process much of the logis cal details. Addi onal explora ons into the abili es of parametricism reveals much poten al; amongst them crea ng shapes of intricate complexity. From our interest in Geometry; our facina on with form- finding has evolved to where a structureâ&#x20AC;&#x2122;s shape can be defined almost infinitely, but s ll conforming to exis ng parameters.

1 The poten al of Parametricism to be used in contemporary prac ses yeilds much promise, with the ability to create unusual and unexpec ng outcomes that demonstrates the power of CAD so wares.

One extent is the ability to produce shapes with the outline defined by points on a surface. While this can be manipulated by alloca ng which points to use, the parametric design repeats this rule for a pa ern eďŹ&#x20AC;ect that defines the form of the structure.

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| PROJECT PROPOSAL

| C.4. ALGORITHMIC SKETCHES

3 Parameters for a designed form can be defined then imposed on a basic shape to create complex outcomes. For instance, an earlier explora on has been produced where the protruding elements exist along set curves. The tubing’s curvature, maximum height and number of tubes at a joint sec on can be defined; crea ng a highly efficient design that can be developed and fabricated efficiently and effec vely.

1 Algorithmic Explora on 1: form finding via pa erning effect 2 Algorithmic Explora on 2: Geodesic shapes defined using pa ern from points on surface 3 Form defined outlining parameters for structure to follow 4 Complia on of computa onal principles used to concieve final structure’s design

Such explora ons have enabled the concieved structure to be made possible. Exis ng parameters, namely the tubing density, number of joints across each disc and the tubing’s pa ern across the sculpture can be defined for the desired outcome. When applied to our sculpture, the outcome reflects an in mate explora on to finding the form, but also one which is structurally effec ve that retains the complexity of an exposed framework.

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| PART 03

| PROJECT PROPOSAL

| C.5. LEARNING OBJECTIVES AND OUTCOMES

C. 5. LEARNING OBJECTIVES AND OUTCOMES

The feedback provided during the final presenta on was very informa ve and useful for further developing the Bioworm idea. One issue was that the central spine couldn’t support the load of the rest of the structure, and was apparent in the scale model which element was structure.

While one structure may compromise the sculpture’s rigidity, we believe that this can contribute to the ini al inten on of crea ng dynamic movement along the structure. Addi onal structure supports such as strips running along the sculpture’s underside may reinforce it, while this s ll requires further considera on without compromising the aesthe cs. The Bioworm’s depic on as a worm’s innards was also discussed. While the depic on may seem unusual, we believed that the earthworm was used as our inspira on, not the final form. We drew inspira on from the worm’s entrails as a complexity of systems that processes ma er, and to help find our intended form. By revealing the Bioworm’s internal system, we hope to reveal the structure that would otherwise be hidden.

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| C.5. LEARNING OBJECTIVES AND OUTCOMES

Another issue was the exclusion of the Biofuel processing components on the site. While its important, logis cally, to include them, we proposed for them to be installed underground and hidden from view as they may interfere with the sculptureâ&#x20AC;&#x2122;s aesthe cs. Yet they present an opportunity of being incorporated into the sculptureâ&#x20AC;&#x2122;s design, and to enhance the aesthe c appeal.

One concern highlighted was the contradic ng idea of having circula ng algae in the tubes and the fact that algae requires stagnant water in order to grow. It is possible to cycle between a stagnant growth phase to allow the algae to bloom, and a circula ng transi on phase to shi the algae when fully grown.

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| PART 03

| PROJECT PROPOSAL

| C.5. LEARNING OBJECTIVES AND OUTCOMES

As discussed earlier, the applica on of parametric so ware yeild much promise in streamlining design opportuni es for Architecture, and in similar design disciplines.

Personally, parametric modelling has opened a wider spectrum of structures to be built, allowing them to be more fliud and natural, and also a response to the immediate environment that reflects much of its surroundings to enhance the social and cultural atmosphere. Just as parametric modelling can revolu onise digital design, addi onal applica ons including Heliotrope and Kangaroo has allowed us to simulate and visualise a structure to discover and improve on exis ng drawbacks. Such so ware holds the answer to reduce the workload to give more freedom to discover new designs, but also to help visualise an idea before devo ng it to a physical incarna on. Designs shouldnâ&#x20AC;&#x2122;t be bound to the so ware. As past research has proven, projects including the Canton Tower, Urban Earth Worm and Consorcio Headquarters contributes much inspira on for achieving our goal.

By reflec ng the environment and surroundings, we have achieved much in promo ng the cultural context by the power of parametric modelling.

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| PROJECT PROPOSAL

| C.5. LEARNING OBJECTIVES AND OUTCOMES

The Wyndham Gateway Project has eďŹ&#x20AC;ected my understanding of architecture by enabling me more freedom and understanding for the components in a structure interrelate with each other. I am convinced that aside from designing and construc ng structures cheap and eďŹ&#x192;ciently, we have created an impressive gateway project for Wyndham that serves as a dis nguishing landmark for the city. Parametric so ware has enabled me to alter complex forms by simply redefining values or base curves/ points, and such methods have enabled me to design and fabricate complex assemblies.Parametricism has served to revolu onise the way I view architectural design, and the methods possible to concieve, develop and fabricate desirable forms. I am convinced that Parametricism is a significant milestone for how future designers can develop concepts and push them further to create a more innova ve future.

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REFERENCES •Williams, Richard ‘Architecture and Visual Culture’, in Exploring Visual Culture: DefiniƟons, Concepts, Contexts ed. by Ma hew Rampley (Edinburgh, Edinburgh University Press, 2005) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York, London, Spon Press, 2003), pp. 13 •Schumacher, Patrick, ‘Patrick Schumacher on Parametricism- “Let the style wars begin”’, Architect’s Journal (2010), (Greater London House, Hampstead Road, London), <h p://www. architectsjournal.co.uk/the- cri cs /patrik-schumacher-on-parametricism-let-the-style-warsbegin/5217211.ar cle> [accessed 30 March 2013] •Hill, Jonathan, ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10 (2006), 1 •Smart Geometry, ‘Gridshell, Smart Geometry’, MATSYS (2012) <h p://matsysdesign.com/ category/projects/sg2012-gridshell/> [accessed 10 April 2013] • Bosse, Chris and Tobias Wallisser and Alexander Rieck, ‘Green Void’, Archdaily (2008) <h p:// www.archdaily.com/10233> [accessed 10 Apr. 2013]

IllustraƟons •Ito, Toyo, 1995-2001, Sendai Mediatheque, photograph, <h p://3.bp.blogspot.com/_ Ien3q8fUKFQ/TD65YksgrwI/AAAAAAAABk8/nY4HW2COLZ4/s1600/Sendai+Mediatheque+2.jpg> [accessed 16 March 2013] •Mies Van Der Rohe, Ludwig, 1945-51, Farnsworth House, photograph, <h p://www. designinforma onalliance.org/sites/default/files/visits-discoveries-images/farnsworth_house_ gmad06_3_0.jpg> [accessed 16 March 2013] •Giorgini, Vi orio, 1962, Liberty Centre, photograph, <h p://archpaper.com/uploads/Giorgini_ LibertyAerial.jpg> [accessed 23 March 2013] •Giorgini, Vi orio, 1962, Liberty Centre, photograph, <h p://cdnimg.visualizeus.com/ thumbs/d3/5b/architecture,rebar,reinforced, concrete,under,construc on-d35b013ac109d0 4ca5cca79e8dab-5d1h.jpg> [accessed 23 March 2013] •Various Architects, 2009, Yorkshire Diamond (Cafe- Lounge Interior), digital rendi on, <h p:// ad009cdnb.archdaily.net/wp-content/uploads/2009/02/1264202964_cafeloungeinterior.jpg> [accessed 01 April 2013] •Various Architects, 2009, Yorkshire Diamond/ Yorkshire Renaissance Pavilion, digital rendi on, [accessed 31 March 2013] -<h p://c1038.r38.cf3.rackcdn.com/group5/building40910/media/hblp_2.jpg> -<h p://www.archicentral.com/wp-content/images/1125720871_diagram-ligh ng.jpg> •Libeskind, Daniel, 2005, Futuropolis, photograph, <h p://www.designtoproduc on.ch/content/ view/12/41/> [accessed 01 April 2013] •Libeskind, Daniel, 2005, Futuropolis, <h p://dinofracchia.photoshelter.com/image/ I00008CkvgIjpi1w> [accessed 01 April 2013] •Informa on Based Architecture, 2010, Canton Tower, photograph, < h p://ad009cdnb.archdaily. net/wp-content/uploads/2010/11/1290020723-img-6813amedlogo-528x352.jpg [accessed 13 April 2013] •Seungsoo, Lee, 2013, Urban Earth Worm, digital rendi on, <h p://www.evolo.us/wp-content/ uploads/2013/ 03/0060-urban-earthworm-0.jpg> [accessed 11 May 2013] •Arquitectos, Enrique B. 2009, Consorcio Headquaters, digital rendi on [accessed 16 May 2013]

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