ARCHITECTURE DESIGN STUDIO AIR JAMIE KIM 390150
TUTOR: LAUREN &CHRIS
NAME: JAMIE KIM STUDENT NO: 390 150 A D S :A I R S E M E ST E R 1 TUTOR:LOREN & CHRIS
JOURNAL CONTENT PAGE 4 - 19 P A R T 1 : C A S E F O R I N N O V A T I O N (W 1 - W 3) 4-10 W E E K 1 11 R H I N O E x E R C I S E 12-15 W E E K 2 16-17 G R A S S H O P P E R E x E R C I S E 18-19 W E E K 3 20 - 55 P A R T 2 : R E S E A R C H P R O J E C T (W 4 - W 8) 22-23 M A T R I C E S 24-29 C U T P R O J E C T 30-55 E x P R E S S I O N O F I N T E R E S T 56 - 66 P A R T 3 : P R O J E C T P R O P O S A L (W 9 - W 12) 58-63 F I N A L P R O J E C T 64-65 F I N A L M O D E L P H O T O 66 LEARNING OUTCOME 67 R E F E R E N C E S
PART 1: CASE FOR INNOVATION
“THE CURRENT TRANSITION FROM COMPUTER AIDED DESIGN (CAD) TO COMPUTATIONAL DESIGN IN ARCHITECTURE REPRESENTS A PROFOUND SHIFT IN DESIGN THINKING AND METHODS.” ACHIM MENGES
JOURNAL WEEK 1: PERSONAL PROJECT
PERSONAL PROJECT I have taken virtual environment as one of my environment course. This subject got me to start developing ideas through 3D computer modelling. First I had to make a muck-up model with clay and bringing that clay model photos to Google SketchUp to develop into 3D model. This process was very interesting for me, how physical model can be re-formed in complex 3D modelling, Furthermore made into real size physical model with paper by unfolding 3D model. This was my first experience on computational design. My concept of the design was “fluid wind� where I have gained this idea from combining both movement of water and wind. Then I used cloth to put over that ribs that I have created a form which i was satisfied with. Then this from became my initial design of the whole project, which i developed this into physical clay model then sketchup model, which then became actual head piece that can be worn. This fabrication technique that i have gained from Virtural Environment could possibly applied in making a final presentation medel
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE PRECEDENT
THE SEED CATHEDRAL, 2010 - HEATHERWICK STUDIO
The Seed Cathedral project was developed by Heatherwick Studio, who does really amazing architectural projects, their simple idea which develops into a form or structure is very innovative. Seed Cathedral was a project which attempts to showcase the natural roots of the United Kingdom. Underlying intension of this Pavilion is to advertise the region. Since the region was famous for collection of different seeds of trees and flowers. He has decided to use seeds as fundamental object of this project, to integrate nature in to city. They have also decide locate a seed inside the rod – tip of it. Heatherwick Studio was interested in the idea of keeping something inside see through material. It gives ‘precious’ feeling towards object that is trapped within the object (like gem-stone from Jurassic Park). Pavilion is covered by 60 thousand acrylic rods which can be moveable through wind. Also each one of the rods has optics at the tip of the rod which brings artificial light in to the centre of the box, then the light is released at night. Through 3d modelling computation technology they were able to achieve an accurate result of precision in drilling a hole through the box It was designed by Heatherwick Studio collaborated with AKT/p.art parametric engineering research team. Heatherwick studio pushes boundaries of architectural discourse by utilisation of commputation design process. It was successful in creating a integration of computational engineering parametric and conceptual architecrual thinking. Use of interactive software applications which informs the structual behaviour of architecture allows more innovative explorations seen in the Seed Cathedral This interesting textural effect could possiblely applied to Wyndham City Council’s proposal. This parametric design process could be applied in creating ‘eye catching installation.
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE PRECEDENT
ROTATING TOWER - DYNAMIC ARCHITECTURE This building is called Rotating Tower: it was name as “Rotating” tower because every single floor would be capable of rotating around a central axis, it will be continually in motion. it also prvide residents choose the views that they want to see. apparently the architect has said this building is highly resistive to earthquake due to each floor rotating independently. interestingly independent movements of each floor could create many different monumental looking of the building. In relation to Architectural discourse, ‘Rotating Tower’ demonstrates the possibilities of mechnical kineticism this apporach of creating a dynamic and changing by over time iT is always important that, project advances the field of Architecture in their own way. it is an important concept to enable what we design to contribute to the field of Architecture as a whole to ensure that there is greater progress in all that we achieve
DYNAMIC
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE
AESTHETIC IN ARCHITECTURE ‘Aesthetic’ in architecture has been out there and developed through long history. In the history aesthetic part of building was expressed through details of building. Whereas, now these aesthetic features are expressed through façade and building form. Through technology enhancement, architects were able to achieve/design complex form and shape through computation. Creating a parametric design through computation may be strength in terms of having non-constraints form and design. However, this could also be a potential problem. Since parametric modelling is free and not limited in its form, this could be carried away to have disconnected design which seem to ignore the surrounding physical context and brief of the design. It is very important to, bear in mind with concept and design intension. Any design need a deeper meaning for its form than just its aesthetic.
RHINO-ExERCISE
JOURNAL WEEK 2: COMPUTATING ARCHITECTURE
RMIT DESIGN HUB
S E A N G O D S E L L A R C H I T E C T S, (2 0 1 1)
This building is located in the corner of Victoria street and Swanston street, this building in very interesting: in terms of facades itself which makes this building parametric design. it was designed to have two different facades which consists of fixed and other facade which rotates according to the outer condition/environment. furthermore this facade also roatates responding to the weather condition such as sun. therefore the building teperature is constrolled. this parametric design does not only has aesthetic purpose, it also provides functional aspect for the building. Most importantly use of parametric design provide precise/ efficent fabrication technique, when it comes to building repetitive comonents of the building. This Parametric design could be applied in Whyndham City Gateway design through experimentation on creating facade consisting different mood, condition, function.
JOURNAL WEEK 2: COMPUTATING ARCHITECTURE
COMPUTATING&TECHNOLOGY Parametric design itself uses parameters to define a form. Therefore it is very easy to create a geometry and exploring a new form: everything could be generated through algorithms. Grasshopper is a program which allows you to create graphical algorithmic freely by combining 3d modelling tools called ‘Rhino’s 3D’. Parametric design offers anyone to ‘design’ a model in an interactive way. Development in technology of parametric has brought architecture to step up to another level of complexity and efficiency in time and cost. Taking a look at the example of ‘ICD/ITKE Research Pavilion 2011’ In this pavilion project; both design and manufacturing methods were controlled through computation techniques. Research Pavilion 2011 is a clear example of advantage in using computation technology. Whole structure could be built in 6.5mm plywood sheets, and this could still be structurally stable. Computation is performing in a way that; which increases maximise in accuracy of manufacturing
JOURNAL WEEK 2: COMPUTING & TECHNOLOGY
GRASSHOPPER ExERCISE
Creating Points and lofting surface using grasshopper
Creating two lines and connecting through bezzier durve.
GRASSHOPPER ExERCISE
Association Curves reference to octagon hatch.
Image Smapling technique
JOURNAL WEEK 3: PARAMETRIC MODELLING
FLUx ExHIBITION
CALIFORNIA COLLEGE OF ARTS, SAN FANSCISCO 2009
The Flux exhibition is parametric design which focuses emerging field of advanced digital design. Digital technologies has evolved for the last two decades, which also enhanced architectural design. digital technology is not a simply representational tools anymore. it is far more significant these days. These tools are now often used in design, simulation and fabrication of structure. far more complex/dynamic shapes are not built throug fabrication. ‘Flux Exhibition’ is the case where, it was achieved through grasshopper definition as shown below. This fabrication technique can be applied in Whyndham City Gateway design. Complex shape could be modeled through grasshopper and apply fabrication technique to built a structure of the Gateway. Parametric Modelling is an advantage when it comes to design- which is complex & repetitive
PART 2: RESEARCH PROJECT
“THE PROJECTS ARE ALWAYS DRIVEN BY THE CONTENT AND NOT BY THE TECHNOLOGY. TECHNOLOGY IS MERELY A TOOL FOR DESIGN DEVELOPMENT” ART + COM
CUT-MATRICES
MATH DRIVEN-ASSOCIATION
ASSOCIATION CURVE ATTRACTOR
ASSOCIATION-ATTRACTOR POINTS
ASSOCIATION USING SETS
JOURNAL : CUT PROJECT
CHILDREN‘S MUSEUM OF PITTSBURGH - NED KAHN Children’s Museum of Pittsburgh has very interesting facade; which is also known as ‘Articulated Clouds.’. Big facade consists of small acrylic panel which could be fluttered by the wind. This creats an image through kinetic movement of panels attached by the facade. Key element of ‘Articulated Cloud’ is ‘organic movemet’, in which movement of wind (kinetic) is projected on the facade by many geometric element that are able to flutter by the wind. In relation to Wyndham Gateway project, this idea of kinetic movement of element by natural source could be an intresting idea. this could also bring a monumenttal mass into a live form
JOURNAL : CUT PROJECT
AIRSPACE TOKYO - FAULDERS STUDIO
Airspace Tokyou was designed by an architect Thom Faulders. Its characteristic of the building is that it is covered by voronoi patterned facade. its organic pattern and shape was originally inspired by the abundant greenery that was previously occupied the site. the voronoi facade screen is layered by 4 different voronoi patterned screen which is overlapping on each other. facade is made of plastic- aluminium composite. This complex patterns can be achieved through simple algorithem equation. Similar idea of pattern can be applied through methodology and generate something more interesting. Voronoi pattern is achieved by the distance between each points to points. Further experiementation through placing a point in a sequence around certain pattern that you want to create, it will allow us to have more flexibility in design and controlling complexity easily. Such technology could easily create structual design which is also material-efficient. Therefore through Wyndham City Council Gateway project could be designed materially efficient which will also result in a environmental benifit.
JOURNAL : CUT PROJECT
REVERSE ENGINEERING
G A N T E N B E I N V I N E Y A R D F A C A D E, F L A S H, S W I T Z E R L A N D Architects: Gramazio & Kohler Constructed: 2006 Gantenbein Vineyard facade was designed by Gramazio & Kohler, It was initially designed to have good condition for the use of fermentation room. Fermentation room requires constant temperature, filtered/reduced sunlighting to the room. they have taken this idea of laying brick further and started designing facade into some sort of ‘image’. which they have chosen to have grape pattern, which also identifies the vineyard. they have simulated the grapes-like image through virtual experimentation. Then this image was brought to create facade which has a grape image by varifiying different angle rotation of brick. (as if the brick was lik a pixel of the image). Gramazio & Kohler has invented a fabrication unit to control and manufacture a building elements into specific and accurate form. this is highly precise, consistant (advantage of computation technology). Such enhancement could be applied in gateway project, and produce high quality and accurate image of lasercut even with very small scale model.
CE XO PI R- E SX SP IROENS SOI FO NI NOT FE RI NE TS ET R E S T
ExPRSSION OF INTEREST
E O I
GATEWAY PROJECT
Wyndham City is already home to a number of public artworks, including the notable “Seeds of Change� (2003) at the Eastern Interchange of the Princes Freeway. The city is hoping for a successful addition to their repertoire, with a new artwork planned for the Western Interchange. This artwork is to indicate arrival into metropolitan Melbourne and should cater to all audiences. In this EOI we hope to put forward a strong
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DESIGN BRIEF :
GATEWAY PROJECT Who: Wyndham City Council Where: Princes Freeway Western Interchange entry to the city. Thus is will be primarily be viewed by motorists travelling at high speed and provide the first indication of arrival into metropolitan Melbourne. Site infomation _Site restrictions: • Site A- 50 000m2 • Site B- 22 000m2 • Site C- 4 000m2 _Site Context & Surroundings: • Werribee Open Range Zoo • Werribee Park Mansion • National Equestrian Centre • Melbourne Water Western Treatment Plant (significant world wetlands) _Available services: • Water: NO • Electricity: available at a cost starting at $50 000
What: An “innovative and prominent indicator to provide a focus to the Western Interchange entry to the city”. The installation will enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance. The installation should aim to be accessible to a wide public and should explore place-making aspects and qualities. Requirements: • • •
Materials Dimensions A description of the design approach and theory (maximum 100 words)
Why: • • • •
To make a significant impact on visitors upon arrival into metropolitan Melbourne To provide an entry statement and arrival experience – to become a new identifier for the municipality. To capture a literal intent, or a more abstract, aspirational feeling. To encourage a sense of pride within the community
Key considerations & issues:
• • • • • • • • • • • • •
Prominent location of the site at the entry to metropolitan Melbourne; Back dropped by a large scale service centre; Consideration of how the installation integrates with and/or sits in the immediate surrounding landscape; Iconic feature; Appropriately scaled; Dialogue between sculpture and landscape to compose the Gateway; Original and engaging in form; Object-centred individual sculpture or a more experiential approach; Literal or abstract; Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, materials, colours etc; Daytime and night time viewing; and Safety, ease of maintenance, materials and longevity.
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The main objective of the UK Pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the Shanghai Expo. The Seed Cathedral showcased the Millenium Seedbank work as undertaken by the Royal Botanical Gardens at Kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed.
Schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.� (1) In such a way was the Seed Cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. This project is relevant to architecture as a discourse as it generated much public and academic interest, just by being completed (2). It was consistently ranked by visitors at the Expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to Heatherwick Studios official website) (3).In architectural circles, the project shot to credibility when it received the prestigious Lubetkin Prizei 2010, awarded annually by the Royal institute of British Architects (RIBA).
COI -EXPRESSION OF INTEREST
“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and theirperceptionofbeingexceptionaland marvellous”. Described by the RIBA president as “an outstanding emblem for Britain” (4), the project was a representation of Britain that was openly portrayed to the rest of the world. “The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and marvellous”. (5) If this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse. An underlying purpose of the cathedral was to create an architecture that was a direct manifestation of the content it exhibited. This was achieved, and relevance to the Gateway Project can be drawn from this success. If the Gateway is to be a success it could be worth drawing on the ideas of successful projects and applying a similar school of thought and innovation to the design of the Gateway Project.
JOURNAL WEEK 1
“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and theirperceptionofbeingexceptionaland marvellous”.
COI -EXPRESSION OF INTEREST
Computation in Architecture The ability of computational design to recreate natural forms was put in the world spotlight shortly before the Beijing Olympic Games in 2008, when Australian firm PTW architects used computational techniques to create the Water Cube, the National Aquatics Centre at Beijing. The form of the building was based on the formation of soap bubbles. The use of computation allowed a strict geometric pattern to be created underneath a seemingly random arrangement of “bubbles�. The concept combines the symbolism of the square in Chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre.
PROJECT NAME
Watercube - Beijing Aquatics Centre ARCHITECT/S PTW Architects YEAR 2008 AWARDS / RECOGNITION 2004 Venice Biennale – Award for most accomplished work Atmosphere section 2004 BE Award Winner for BIM Building Information Model in Architecture and Engineering
“The structureappearsrandom and playful like a natural system, yet it is mathematically very rigorous.” -Andrew Frost (Director, PTW)
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PROJECT NAME
ICD/ITKE Research Pavilion 2011 ARCHITECT/S
Faculty and students at Stuttgart University YEAR 2011 AWARDS / RECOGNITION
2nd Prize, Architectural Category, International Design Awards 2011 Leichtbaupreis 2011 (Lightweight Structures Award 2011)
Parametric modelling: scripting & programming cultures
The 2011 Research Pavilion by faculty members and students at Stuttgart University used programming methods to accurately recreate the structure of a sea urchin. Both the design of the pavilion and the manufacturing methods were controlled by computation techniques. The computational process allowed the designers to extend recognised bionic principles to a range of different geometries, resulting in the exclusive use of 6.5mm sheets of plywood to construct the pavilion. This is not the first time the architects of this design have managed to produce a structure with such a detailed representation and high structural qualities. In 2010 the University of Stuttgart’s ICD/ITKE Research Pavilion was built using similar technological methods that also allowed for the use of 6.5mm plywood sheets. In 2011 they took the concept one step further, using scripting to recreate a biological structure.
COI -EXPRESSION OF INTEREST
Biomimcry is not an overly new concept to the architectural world. The focus recently however is creating forms that imitate nature by means of computation. Scripting is the capability offered by almost all design software packages that allows the user to adapt, customise or completely reconfigure software around their own modes of working (10). Taking advantage of this is crucial to being able to create such complex yet accurate forms. While architecturally it is simple enough to imitate natural forms, programming allows the process to take a further step towards reconstructing the structure of these forms as well. Using scripting to create the highly detailed and repetitive forms can save time, as the highly specific instructions that are given to the computer by the user can automate routines and repetitive activities, which would otherwise take up an unsatisfactory block of time (11). The accuracy that can be pinpointed by computation has allowed for a highly detailed representation of the natural form that is not only aesthetically accurate, but is also structurally accurate and thus stable.
The exciting range of possibilities that arise from the project are significant to the EOI in terms of extending the parameter of the Gateway project. Advances in recent years in computer-aided design and manufacturing have opened up new opportunities for architecture, allowing the production and construction of very complex forms that were previously expensive to produce and difficult to design using traditional construction technologies (12). This is evident in the exclusive use of thin plywood sheets that the pavilion was built from. The EOI calls for representation of something; of drawing awareness to a certain situation. We believe computation is the way to achieve this representation to the best quality. The use of computation to design this project will enable the design to be structurally sound, and the level of detail achieved in terms of design will be exquisite. If computation can imitate nature so perfectly, as demonstrated by both the Watercube project and now the 2011 Research Pavilion, there is nothing else it cannot represent without accuracy.
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FIRM
The verymany Architects
Director: Marc Fornes AWARDS / RECOGNITION 2010 New Practices New York award (AIA) ARCHITECT/S
The verymany Architects are renowned for their use of parametric design. Specifically they develop their designs in Python / Rhinocommon SDK. Their designs feature mostly as public artwork installations, but some have practical uses as well. The wide variety of projects that this firm has produced is testament to the strength of parametric design as a design tool. The firm uses parametric modelling as a means of creating beautiful and intriguing spaces within a structure, with plays on light and colour. The function of many of their installations is simply to be a feature, however the use of computation technologies has also allowed for the installations to be structurally sound. Since the structure looks flimsy and decadent, this certainly comes as a surprise. Not only is the structure physically strong and stable, but the exploration of form and light through computation is a strong factor in creating a gateway that will convey a message and catch attention. A gateway in the manner of the VeryMany architects will of course advance architectural discourse in the way that this small firm is slowly attracting interest due to its daringly different approach to installations. The thrust of this firm’s popularity, and indeed its livelihood, lies in its embracement of parametric design. Thus it seems that Marc Fornes would agree that scripting is vital in design, and that computer programming is an activity without which nothing would happen (13).
Bus stop at St-Louis / C-Coeur, 2011 This is a winning design for a bus shelter in 2011. The prominent location of the bus shelter provides a public artwork that is also functional. Like the Gateway project it will attract attention alongside a road, and the opportunity could be used to convey a message like the Gateway will aim to.
Irene Neuwirth installation, 2011 The Irene Neuwirth installation was a collaboration with jewellery designer Irene Neuwirth in New York, 2011. The design was intended to emphasise the luxurious nature of the jewellery, and served the functional purpose of providing display cabinets amongst the installation.
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In a similar design brief to our very own Gateway project, Marc Fornes collaborated on a winning entry in 2011 for a beach gateway installation. The aim of the Gate Wave was to dramatically announce that visitors had arrived at Redondo Beach, similar to the way in which our Gateway project will need to announce arrival into metropolitan Melbourne.
LA Redondo Beach “Gate Wave�, 2011
Art Basel M installation, This installation acts aesthetic only, however the quality and attention to detail that was embraced through the use of parametric design has allowed the project to also be structurally stable. Although our Gateway project does not need to have a practical purpose, it will be structurally sound and thus more durable if the use of computation for its design is implemented.
Times Square – Fluttering hearts competition entry, 2012 Using the definition of “flutter”, the firm has created an installation based on the movement of heart shaped flowers that are hesitant to open, a metaphor for opening up one’s heart to another on Valentine’s Day. Designed for the Valentine’s Day installation in Times Square, the architectural form has been dictated by the meaning that is meant to be conveyed by the installation. This is a possible path to explore for the Gateway project.
Miami 2011
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Digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). For the Watercube project, it was possible for this structure be created thanks to the use of computation. The intricacies of the project were described by PTW Architect’s director, Andrew Frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). The accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. The use of computation allowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound.
As a winner of the Atmosphere category of the Venice Biennale, it is obvious that the space within the Watercube has succeeded in creating a suitable atmosphere for its context. The jury of the award stated that “the project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) In relation to the Gateway Project, creating an appropriate atmosphere for the viewers of the Gateway is tantamount to conveying the project’s message. The success of the Watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. The Gateway Project should take advantage of this function of computation by applying it to the design process.
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T l n o s
L p T t t c a t a t w s s
PROJECT NAME
NanningGateway
This project by Melbourne firm Denton Corker Marshall is located in Nanning, China, at the gateway to the city of Nanning via the freeway. As visitors emerge from the toll gates of the freeway, one of the scattered flowers delaminates into separate petals along the course of the road.
Like the Gateway project, the Nanning Gateway has a purpose: to create a strong “green” statement for visitorsW (14). The Nanning Gateway has managed to convey this message through its dynamic, rather than static, design. The deconstruction of the flower petals along the road as visitors travel along creates a space/time feeling as though they are caught up in a motion of sorts. This feature draws in viewers and entices them for longer than the usual few seconds than a roadside artwork would usually. This extra time is vital in being able to communicate a stronger message to the audience than would otherwise happen. In order for the Gateway to equally successful, the design must be able to capture attention in the same way as Denton Corker Marshall has managed.
ARCHITECT/S Denton Corker Marshall YEAR 2002
In order to do so, the use of parametric design would be useful in order to create an unusual and eye-catching design. Conventional sign posting such as banners will not be engaging and thus not effective. On the other hand, an experiential space may not be effective either if it requires close interaction. Parametric design would be ideal to create an interesting artwork that can also provide an experiential quality, but from afar. As shown in previous precedents, the forms and intricacies that can be achieved using computation, and particularly scripting, are not aesthetically unpleasing, and extraordinary forms can be created which will give the Gateway’s design a greater chance of standing out and drawing attention, whilst still adhering to tiny details that will set it apart from other road signage.
The Nanning Gateway has a purpose: to create a strong “green statement for visitors.
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Bubble - BMW Pavilion ARCHITECT/S
Bernhard Franken YEAR
1999
AWARDS / RECOGNITION
iF Exhibition Design Award 1999 Feidad Award 2000, 2001 2011DDC Award 2001 Automotive Brand Contest Award
A very early example of computation in architecture, the pavilion at the first BMW trade fair was representative of sustainability. Its structure was based on the shape a drop of water, created by means of a drop simulation computer program. This technology was highly advanced for its time, and the Bubble was one of the first structures in the world to be created entirely by digital means, including its construction. The forms were generated by algorithms which allowed the skin to appear as a giant water drop, by finding the balance between internal pressure and surface tension (15). This defines the project as perfomance-driven as the structure was dependent on the inspiration behind the design. Fortunately computation was able to make the skin a structural physical reality.
The Bubble was created as such to achieve a specific purpose; that is, to create a form to convey a specific message. The form aimed to promote sustainability and more specifically hydrogen as a source of renewable energy and thus a potential fuel for the future. This early drive towards representation of architecture in biological forms was a key influence for biomimcry to follow (see ICD/ITKE Research Pavilions and Watercube) and also provided implications for the future of computation. If, at such an early developmental stage (in terms of software and technology), computation was able to accurately recreate a performance-driven design, then the future of computation holds many exciting possibilities which future designs, namely the Gateway project, should be embracing.
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Based on our explorations with the CUT definitions, we were able to develop a few concept models from the more successful combinations. The sketch models (left) demonstrate the concept of density in different ways. The plywood model (right & bottom) furthers this concept by making it more realistic as a gateway concept.
PART 3: PROJECT PROPOSAL
“ AS A STYLE PARAMETRICISM IS MARKED BY ITS AIMS, AMBITIONS, METHOLOGICAL PRINCIPLES, AND EVALUATIVE CRITERIA, AS WELL AS BY ITS CHARACTERISTIC FORMAL REPERTOIRE” SCHUMACHER (2010)
J O U R N A L W E E K 9 - 12 : A R C H I T E C T U R E A S D I S C O U R S E
Our concept and design has changed a lot throughout the design process. in the end, we have decided to take ‘Werribee wetlands’ as out concept to develop on. then we started research new precedent that we are going to closely have a look at. Our design was a different approach in terms of manipulating a landscape through paramatric design rather than creating sculptural looking gateway along the road. It was a very important step for us to take a good approach through looking at relevent precedent which will strongly back up our concept and ideas
PRECEDENT
P A R A M E T R I C W A T E R S H E D LA N D S C A P E , N Y C PARAMETRICALLY ALTERING A LANDSCAPE WAS AN IDEA THAT CAME TO US AFTER OUR INITIAL DESIGN APPEARED TO BE ATYPICAL OF PARAMETRIC DESIGN. RESEARCH INTO PRIOR USES OF PARAMETRIC DESIGN IN LANDSCAPE ARCHITECTURE UNEARTHED THE NYC WATERSHED LANDSCAPE, WHICH WAS PARAMETRICALLY DESIGNED TO CREATE AN ECOSYSTEM THAT WOULD PROVIDE UNCONTAMINATED WATER TO THE CITY. FURTHERMORE, THE LANDSCAPE WAS DEVELOPED TO BE A RECREATIONAL SITE AS WELL, SO THAT THE WATERSHED DESIGN WOULD BE ACCEPTED AS BEING PART OF THE LANDSCAPE. OUR GATEWAY WILL NOT BE JUxTAPOSED WITH THE LANDSCAPE BUT SEEK TO BECOME A PART OF IT. PARAMETRICALLY DESIGNED LANDSCAPES CAN HAVE AN IMPACT EQUALLY EFFECTIVE AS PARAMETRICALLY DESIGNED SCULPTURES.
SALT MARSH ENVIRONMENT ACCORDING TO PARKS VICTORIA, THE WERRIBEE WETLANDS IS PARTIALLY COMPRISED OF COSTAL SALT MARSH. THIS HAS LOCAL SIGNIFICANCE PARTICULARLY TO WYNDHAM AS IT IS LOCATED IN GRAHAM’S WETLAND RESERVE WHICH IS MANAGED BY THE WYNDHAM CITY COUNCIL. COASTAL SALT MARSH ENVIRONMENTS ARE DYNAMIC ECOSYSTEMS THAT HAVE REGULARLY CHANGING WATER LEVELS. AS A GENERAL RULE, TIDAL SALT MARSH WILL ExPERIENCE DAILY LOW TIDE, MEAN LOW TIDE, HIGH TIDE AND VERY HIGH TIDE. THE GATEWAY PROPOSAL DRAWS ON THIS NATURAL WATER LEVEL CHANGE TO CREATE A DYNAMIC AND EVER-CHANGING GATEWAY. THE VORONOI PATTERN IS BASED LOOSELY ON THE NATURAL FORMATION OF SALT MARSH SYSTEMS.
WERRIBEE WETLANDS THE ExTENSIVE WERRIBEE WETLANDS, LOCATED TO THE WEST OF WYNDHAM, WERE THE BASIS OF OUR DEVELOPMENT OF THE GATEWAY PROPOSAL. HOME TO THE WESTERN [SEWERAGE] TREATMENT PLANT, THE WETLANDS ARE AN INTEGRAL PART OF THE IDENTITY OF WESTERN MELBOURNE AND GREATER VICTORIA. THE WETLANDS NOW HOST MANY DIFFERENT ECOSYSTEMS AND BIRD HABITATS, THANKS TO THE RICH SEWERAGE SEDIMENTS ONSITE. WE WANTED TO GIVE VISITORS TO WYNDHAM A TASTE OF WHAT THEY COULD ExPERIENCE IN THIS GREAT MAN-MADE WETLAND AREA, WHICH HAS THRIVED AS A NATURAL SYSTEM, AND PERHAPS EVEN TRY TO IMITATE ITS SUCCESS. THE KEY DISTINGUISHING FEATURE BETWEEN THE WERRIBEE WETLANDS AND THE GATEWAY PROPOSAL IS THAT WHILST BOTH WILL BE MAN-MADE, THE GATEWAY WILL UTILISE PARAMETRIC DESIGN IN ITS LAYOUT.
GATEWAY PROJECT
LANDSCAPE VORONOI FORMATION
First diagram shows FreeFORm Line MIMICS THE GRAPHICAL REPRESENTATION OF THE DAILY TIDE LEVELS IN A TYPICAL SALT MARSH. then the second diagram shows Control points of line extracted via GRASSHOPPER. Points become base for VORONOI. Third diagram shows Control points of Voronoi extracted and reinterpreted as new curves via GRASSHOPPER to give an organic cell like structure. New Curves used to create offsets which become the contour levels of each mound. finally Original curves removed to leave gaps at zero level between Voronoi mounds. Pattern trimmed at edges of surface boundary. Pattern mirrored to create second half of the gateway. then this was built into a contour-like form for out gateway design.
detail GENERAL SECTION 1 : 50 ROAD GRADIENT = 1/100 REINFORCEMENT STEEL
GLASS ENCLOSURE SOIL CONCRETE
RETAINING POST WATERPROOF MEMBRANE
REINFORCEMENT STEEL
LIGHT
CONCRETE SLAB
BOLT
CABLE
General form of voronoi contoured mounds will be constructed with concrete with hollow space where it could be filled with soil that can grow shrubs from it. It was chosen to be constructed with concrete because this will pevent voronoi based pattern from eroding away. This could also advance in, little maintenance required. whole structure is 37m wide (including 7m road) which stretches 15metres to both side and 80metres long. excavated ground in retained by retaining concrete and retaining post. Salt water will be contained in excavated boundary to provide salt marsh environment
RHOGODIA CANDOLLEANA (SEABERRY SALTBUSH)
EARTH
OR, ATRIPLEX PALUDOSA (MARSH SALT BUSH)
CONCRETE
MATERIALITY
GATEWAY PROJECT
CHANGING LANDSCAPE When finalising the design, it was important to decide, if our gteway design will man-made or natural. Since the concept was to imitate a salt marsh, there was a strong argument for natural materials. However after much deliberation, we have decided to take the “man-made” path as the properties of non-natural materials will have several advantages over natural materials, namely longevity and low to no maintenance required. Although we want the design to be dynamic, we do not want the pattern to get lost in soil erosion as would naturally occur in a wetland. However the dynamic nature of the design will not be lost entirely due to other techniques. To emulate the concept of a “changing landscape”, the gateway will be changing in 3 ways. Firstly the water level will be dynamic, changing according to weather cycles. For example, when it rains the water level will be higher, hiding some of the mounds, but when the water body evaporates the water level will go down and expose more mounds. Secondly, the reflection of the sky on the still water body will be a different colour depending on either the weather or the time of day, this is shown in our photo montages. Thirdly, the underwater lighting will act similarly to street lights, in that it will sense darkness and switch the underwater lighting on, creating an entirely different effect to that of the daytime. The changing landscape concept will be successfully achieved by means of all three techniques. Thus the landscape will look different each time it is visited.
DAY TIME
SUN
NSET
I S O M E T R I C V I E W OF W A T E R H E I G H T
2METRE
1METRE
2.5 M E T R E NIGHT TIME
FINAL MODEL PHOTO
LEARNING OUTCOME
LEARNING OUTCOME Throughout the course, I have experimented and explored a new technology which cuold enhance our design through digital tool. Through this technology i was able to test out creating different form, pattern, structure which sometimes was quite complex. At the same time i was exploring many different case studies and linking this back to Whyndham City Council Gateway Project. How this could enhance out design when it comes to designing our own gateway project. Before i studied this subject, I was not familiar with program such as Grasshopper. after exploring different components by watching tutorials, i was able to take a step further by combining different components and figuring out, how i could create a such complex form through grasshopper. Through personal journal, i was able realise the importance of visual communcation (expressing through diagram) expressing complicated idea into a simple form. One of the hardest challenge that i faced was to link precedents back to gateway design and summurising the whole ideas and resources into a one single outcome. However, it was generally a good course, which has got me to think about many different architectural discourses and digital knowledges. Furthermore learning a new program which i could use in the future studio work.
REFERENCE (1) Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28. (Page 3) (2) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4) (3) http://www.heatherwick.com/uk-pavilion/ (4) http://www.bbc.co.uk/news/10447868 (5) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 7) (6) http://www.ptw.com.au/ptw.php (7) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4) (8) http://www.arcspace.com/architects/ptw/ (9) http://www.dpr-barcelona.com/index.php?/projects/watercube-thebook/ (10) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71 (Page 8) (11) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71 (pages 8 & 9) (12) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 3) (13) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 (page 16) (14) http://www.dentoncorkermarshall.com/projects.aspx?p=0&projectID=93 2&catID=2&f1=location&f2=asia&pg=1 (15) http://www.archcairo.org/Department/ABT/ARCN106/LECTURES/4%20 -Digital%20Design.pdf
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